The  Drama  League  Series  of  Plays 
VOLUME  II 


A  THOUSAND  YEARS  AGO 


A 

THOUSAND  YEARS 
AGO 

A  ROMANCE  OF  THE  ORIENT 

BY 
PERCY  MACKAYE 


WITH  AN  INTRODUCTION  BY 

CLAYTON   HAMILTON 


'Here  in  China  the  world  lies  a-dream,  like  a  thousand 
Years  ago,  and  the  place  of  our  dreams  is  eternal " 


GARDEN   CITY  1914  NEW  YORK 

DOUBLEDAY,  PAGE   &  COMPANY 


Copyright,  1914 ,  by 
PERCY    MACKAYE 

ALL  RIGHTS  RESERVED    BY    THE   SHUBERT    THEATRICAL   CO. 


In  its  present  form  this  play  is  dedicated  to  the  reading 
public  only,  and  no  performances  of  it  may  be  given. 
Any  piracy  or  infringement  will  be  prosecuted  in  accord 
ance  with  the  penalties  provided  by  the  United  States 
Statutes:— 

SEC.  4966.  — Any  person  publicly  performing  or  representing 
any  dramatic  or  musical  composition,  for  which  copyright  has 
been  obtained,  without  the  consent  of  the  proprietor  of  the  said 
dramatic  or  musical  composition,  or  his  heirs  or  assigns,  shall  be 
liable  for  damages  therefor,  such  damages  in  all  cases  to  be  as 
sessed  at  such  sum,  not  less  than  one  hundred  dollars  for  the 
first  and  fifty  dollars  for  every  subsequent  performance,  as  to 
the  Court  shall  appear  to  be  just.  If  the  unlawful  performance 
and  representation  be  wilful  and  for  profit,  such  person  or  per 
sons  shall  be  guilty  of  a  misdemeanor,  and  upon  conviction  be 
imprisoned  for  a  period  not  exceeding  one  year.  —  U.  S.  Revised 
Statutes,  Title  60,  Chap.  3. 


TO 
HERMANN  HAGEDORN 

Singer  of  flashing  swords 

Lover  of  olden  songs 

"  Miming  Romance,  seductive  Adventure 
Amorous  Magic,  improvised  Comedy 
And  all  the  love-charming,  blood-thirsty 

Enchantments 
Our  prosy  old  workaday  world  has  lost  wind  of  " 


tv] 


282204 


THE  AUTHOR 

Percy  MacKaye,  the  author  of  this  play,  was  born 
in  New  York  City,  March  16, 1875  —  a  son  of  Steele 
MacKaye.  He  graduated  from  Harvard  with  the 
class  of  1897  and  shortly  afterward  spent  two  years 
in  Italy  and  at  the  University  of  Leipzig.  In  1904 
he  joined  the  Cornish  (New  Hampshire)  Colony 
and  has  since  devoted  himself  to  literary  and 
dramatic  work.  He  is  a  member  of  the  National 
Institute  of  Arts  and  Letters. 
Following  is  a  list  of  his  published  works : 

THE  CANTERBURY  PILGRIMS:    A  Comedy. 

THE  CANTERBURY  TALES  OF  CHAUCER. 

FENRIS,  THE  WOLF:    A  Tragedy. 

JEANNE  D'ARC:    A  Tragedy. 

SAPPHO  AND  PHAON:    A  Tragedy. 

THE  SCARECROW:    A  Tragedy  of  the  Ludicrous. 

LINCOLN  CENTENARY  ODE. 

MATER:    An  American  Study  in  Comedy.. 

THE  PLAYHOUSE  AND  THE  PLAY.    Essays. 

A  GARLAND  TO  SYLVIA  :    A  Comedy. 

ANTI-MATRIMONY:    A  Satirical  Comedy. 

YANKEE  FANTASIES.     Five  One-Act  Plays. 

TO-MORROW.    A  Play  in  Three  Acts. 

POEMS. 

URIEL,  AND  OTHER  POEMS 

THE  Civic  THEATRE. 

SANCTUARY:    A  Bird  Masque. 

A  THOUSAND  YEARS  AGO 
[vi] 


Original  Cast  of  the  Play  as  first  produced  in  Boston^  at  the 
Shubert  Theatre,  December  1,  1913 


WILLIAM  A.  BRADY  (LTD.) 

PRESENTS 

A  THOUSAND  YEARS  AGO 

A  Romance  of  the  Orient 

BY 

PERCY  MACKAYE 

"Here  in  China,  the  -world  lies  a-dream,  Hkt  a  thousand 
Years  ago,  and  the  place  of  our  dreams  is  eternal." 

(The  play  is  an  original  comedy,  suggested  by  the  Persian  romance  in 
"The  Thousand  and  One  Tales,"  wherein  is  recited  the  adventures  of 
<.  a;af>  Prince  of  Astrakhan,  and  the  beautiful  Princess  of  China.) 


CAST  OF  CHARACTERS 

ASIATIC 

•  UTRANDOT,  Princess  of  Pekin Rita  Jolivet  • 

ALTOUM,  her  father,  Emperor Frederick  Warde 

•  ZELIMA,  her  slave Fania  Marinoff ' 

CALAF,  Prince  of  Astrakhan Jerome  Patrick 

a]rBARAK.  his  servitor Frank  McCormack 

CHANG,  Eunuch Edmund  Roth 

EUROPEAN 
SCARAMOUCHES  ("Sheldon  Lewis 

!S?KLNLO      •  -Vagabond  P,ayers  from  Italy  J  SSSftfiB* 
HARLEQUIN       J                                                             (.Joseph  Smith 
CAPOCOMICO,  their  leader H.  Cooper  Cljffe 

LORDS  OF  THE  ROYAL  DIVAN 
Hugh  Nixon,  John  P.  Savage,  Anthony  Romack,  Reginald  Simpson 

BEGGARS 
William  H.  Dupont  and  W.  Bradley  Ward 


SOLDIERS  OF  PEKIN 

David  Earle,  Charles  Muche,  Thomas  Edwards,  Joseph  Reed,  Howard 
Jackson,  Carl  Textoris,  Joseph  Weston,  James  Bannister 

TEA  BEARERS 
Franklin  Montgomery  and  John  Leons 

COURT  ATTENDANTS 
Philip  Sheridan  and  Robert  W.  Gest 

FEMALE  ATTENDANTS 

Marie  Benton  Daisy  Miller,  Ruth  Pierson,  Constance  Howard, 
'    Elsie  Gates  and  Sybil  Maitland 


SCENES 

ACT  I 
City  Gate  at  Pekin 

ACT  II 

Scene  1:  Room  in  the  Imperial  Harem 
Scene  2:  Great  Hall  of  the  Emperor 

ACT  III 
Scene  1:  Turandot's  Dream 

(1)  The  Mountains 

(2)  A  Street 

Scene  2:  Anteroom  of  the  Harem 
Scenes:  Calafs  Bedchamber 

ACT  IV 
Great  Hall  of  the  Emperor.    (The  same  as  Act  II,  Scene  2) 


Play  produced  under  the  direction  of  Mr.  J.  C.  Huffman 
Interpretative  music  composed  by  William  Furst 

EXECUTIVE  STAFF 


.Stage  Director 
WflHam  W.  Brown  I Stage  Managers 

[  viii  ] 


PREFACE 

The  present  play  is  an  original  comedy,  of  which 
certain  elements  in  the  plot  have  been  suggested  by 
the  old  Persian  tale  which  is  the  theme  of  the  eigh 
teenth  century  Italian  comedy  "Turandotte,"  by 
Carlo  Gozzi,  translated  into  German  by  Friedrich 
Schiller. 

It  is  not  a  revision  or  rewriting  of  that  work. 

It  is  an  entirely  new  play. 

Since,  however,  some  modern  productions  have  re 
cently  been  made  in  Germany,  England  and  America, 
under  the  title  of  "Turandot,"  it  is  fitting  to  make 
clear  the  relation  which  my  play  bears  to  those  and 
to  the  older  productions  of  Gozzi  and  Schiller. 

In  January,  1762,  "Turandotte"  by  Carlo  Gozzi 
was  first  acted  by  the  Sacchi  company  of  players 
at  Venice.  It  was  one  of  a  number  of  "improvised 
comedies"  —  or  Commedie  delV  Arte  Improvisata 
—  composed  by  Gozzi  in  his  single-handed  artistic 
war  against  the  more  naturalistic  works  of  Goldoni, 
his  contemporary. 


PREFACE 


The  plots  of  these  comedies,  or  Fiabe,  were  de 
rived  from  nursery  or  folk-tales.  They  were  acted 
by  masked,  or  semi-masked  players.  Their  tech 
nique  was  based  on  the  old  Italian  form  of  scenari. 
This  form  is  described  by  John  Addington  Symonds, 
in  the  Preface  to  his  "Memories  of  Count  Carlo 
Gozzi,"  as  follows: 

"Comparative  study  of  these  scenari  shows  that 
the  whole  comedy  was  planned  out,  divided  into 
acts  and  scenes,  the  parts  of  the  several  personages 
described  in  prose,  their  entrances  and  exits  in 
dicated,  and  what  they  had  to  do  laid  down  in 
detail.  The  execution  was  left  to  the  actors;  and 
it  is  difficult  to  form  a  correct  conception  of  the 
acted  play  from  the  dry  bones  of  its  ossatura.  '  Only 
one  thing  afflicts  me,'  said  our  Marston  in  the  Preface 
to  his  Malcontent:  'to  think  that  scenes  invented 
merely  to  be  spoken,  should  be  inforcively  published 
to  be  read.'  And  again  in  his  Preface  to  the  Fawne: 
'Comedies  are  writ  to  be  spoken,  not  read;  remem 
ber  the  life  of  these  things  consists  in  action.'  If 
that  was  true  of  pieces  composed  in  dialogue  by 
an  English  playwright  of  the  Elizabethan  age,  how  far 
more  true  is  it  of  the  skeletons  of  comedies,  which 
avowedly  owed  their  force  and  spirit  to  extempora- 

[x] 


PREFACE 


neous  talent!  Reading  them,  we  feel  that  we 
are  viewing  the  machine  of  stakes  and  irons 
which  a  sculptor  sets  up  before  he  begins  to  mould 
the  figure  of  an  athlete  or  a  goddess  in  plastic 
clay. 

"The  scenario,  like  the  plat  described  for  us  by 
Malone  and  Collier,  was  hung  up  behind  the  stage. 
Every  actor  referred  to  it  while  the  play  went  for 
ward,  refreshing  his  memory  with  what  he  had  to 
represent,  and  attending  to  his  entrances." 

Written  as  scenari  Gozzi's  acted  Fiabe  were  emi 
nently  successful  in  their  day,  and  established  his 
works  as  models  of  a  dramatic  taste  which,  toward 
the  last  of  the  eighteenth  century,  it  became  the 
desire  of  cultivated  Germans  to  introduce  into  their 
own  country. 

With  this  object  in  view,  Goethe  and  Schiller 
selected  "Turandotte"  as  a  foreign  comedy  worthy 
to  be  translated  and  adapted  for  production  at  the 
Weimar  Theatre.  Accordingly  Schiller  recast  in 
poetic  form  a  German  version  of  Gozzi's  play,  made 
by  Werthes,  and  produced  it  at  Weimar,  in  honor  of 
the  birthday  of  the  Grand  Duchess,  wife  of  Karl 
August,  on  January  30,  1804.  In  details  of  this  re 
casting  he  was  assisted  by  Goethe, 
[xil 


PREFACE 


The  attempt,  however,  thus  to  "elevate  the  taste 
of  the  German  public"  was  not  successful. 

More  than  one  hundred  years  later,  Dr.  Max 
Reinhardt  produced  in  Berlin  a  play  based  on  Schil 
ler's  "Turandot"  made  by  Karl  Voellmueller.  In 
1912  an  English  translation  of  this  version  by  Jethro 
Bithell  was  produced  in  America  by  the  Shubert 
Theatrical  Company,  and  after  a  brief  run  on  the 
road  was  withdrawn  from  the  stage.  Tn  January, 
1913,  it  was  also  produced  for  a  short  run  in  London 
by  Sir  George  Alexander. 

Considering  the  version  as  it  stood  to  be  in  need 
of  changes  for  their  purposes,  the  owners  of  the 
American  rights  requested  me  to  suggest  and  make 
the  changes.  To  this  I  replied  that  to  make  altera 
tions  or  adaptations'^  the  versitfh  did  not  appeal 
to  me,  but  if  the  owners  would  like  to  give  me  entire 
freedom  to  write  a  new  and  original  play  on  the 
theme  of  the  Persian  folk-tale  used  by  Gozzi  suit 
able  to  the  scenic  settings  of  Reinhardt's  production, 
I  should  be  glad  to  do  so.  This  freedom  was 
courteously  given,  and  the  present  play  was  written 
in  the  late  spring  and  early  summer  of  this  year, 
and  placed  in  rehearsal  in  October. 

In  writing  my  play,  then,  I  have  used  for  my  own 
[xii] 


PREFACE 


purposes  the  folk-tale  material  treated  differently 
by  Gozzi,  arid  in  so  doing  I  have  entirely  recon- 
ceived  the  story  and  its  situations,  omitting  many 
characters  of  the  old  tale,  introducing  and  creating 
several  new  ones,  and  characterizing  all  from  a  fresh 
standpoint.* 

The  chief  male  character  of  my  play,  for  instance, 
Capocomico,  is  wholly  new.  The  name  is  that 
which  was  given  to  the  director  or  choregus  of  the 
old  Italian  troupes  of  the  Commedia  dell*  Arte, 
concerning  which  Symonds  writes  in  his  Preface 
before  referred  to: 

(J'The  Choregus  was  usually  the  Capo  Comico,  or 
the  first  actor  and  manager  of  the  company.  He 
impressed  his  comrades  with  a  certain  unity  of  tone, 
brought  out  tfie  talents  of  promising  comedians, 
enlarged  one  part,  curtailed  another,  and  squared 
the  piece  to  be  performed  with  the  capacities  he 
could  control.  'When  a  new  play  has  to  be  given,' 
says  another  writer  on  this  subject,  'the  first  actor 
calls  the  troupe  together  in  the  morning.  He  re%ds 

*Since  the  date  of  the  commission  for  my  play,  the  translation 
of  Turandot"  by  Jethro  Bithell  has  been  published  in  America 
by  Duffield  &  Company,  New  York,  so  that  the  Gozzi-Schiller-Voell- 
mueller  dramatic  version  of  the  folk-tale  is  thus  made  available  for 
English  readers. 

[  xiii  ] 


PREFACE 


them  out  the  plot,  and  explains  every  detail  of  the 
intrigue.  In  short,  he  acts  the  whole  piece  before 
them,  points  out  to  each  player  what  his  special 
business  requires,  indicates  the  customary  sallies 
of  wit  and  traits  of  humor,  and  shows  how  the  several 
parts  and  talents  of  the  actors  can  be  best  combined 
into  a  striking  work  of  scenic  art.'  " 

\The  four  "Maskers"  of  my  play,  followers  of 
Capocomico,  are,  of  course,  my  own  renderings  of 
the  types  familiar  to  the  old  Italian  comedies  A 

For  their  dialogue  in  tEe  introductory  scene  of 
this  modern  comedy  in  English,  I  have  invented 
for  them  (or  rather  made  use  of,  for  the  first  time, 
for  modern  actors)  a  form  of  spoken  verse  suggestive 
perhaps  of  the  voluble,  carjnciojis,  urmaturalistic 
spirit  of  fantasy  common  to  them :  embodied  esjpec- 
Jallvjiitheirjeader  and  spokesman,  Caj^ocornicjo. 

Needless  to  say,N'  A~Thousand  Years  Ago  "  his 
torically  speaking,  there  were  no  disciples  of  the 
school  of  la  Commedia  deWArte  to  invade  old  China, 
but  fantasy  and  comedy  are  older  (and  younger) 
than  the  schools.  As  Capocomico  himself  remarks 
to  Punchinello: 

"  Here  is  China  the  world  lies  a-dream,  like  a  thousand 
Years  ago,  and  the  place  of  our  dreams  is  eternal." 


PREFACE 


To  the  stage  production  of  the  play  Mr.  J.  C. 
Huffman  has  brought  the  admirable  powers  of  his 
vital  directorship. 

The  theatrical  rights  are  owned  and  reserved  by 
the  Shubert  Theatrical  Company,  of  New  York. 

PERCY  MACKAYE. 
COENISH,  NEW  HAMPSHIRE,  November,  1913. 


Ixv] 


INTRODUCTORY  NOTE 

The  author,  in  his  preface,  has  explained  the  pedi 
gree  of  "A  Thousand  Years  Ago."  It  is  the  chief 
advantage  of  long  pedigrees  that  they  allure  us  from 
the  contemplation  of  the  present  to  the  investigation 
of  the  past;  and,  for  students  of  dramatic  literature, 
perhaps  the  most  important  feature  of  this  present 
play  is  that  the  tracing  of  its  ancestry  leads  us  back 
to  one  of  the  most  interesting  periods  in  the  history 
of  the  theatre. 

In  his  quotations  from  John  Addington  Symonds, 
the  great  English  authority  on  the  Renaissance  in 
Italy,  Mr.  MacKaye  has  already  set  before  us  the 
main  features  of  the  Commedia  delV  Arte  Improvisata, 
which  nourished  in  Italy  for  several  centuries;  but  a 
few  additional  notes  may  be  appended  for  the  benefit 
of  those  who  wish  to  extend  their  study  of  this  type 
of  drama.  Two  books  upon  the  subject  are  readily 
accessible  and  may  be  strongly  recommended.  One 
of  these  is  the  "Histoire  du  Theatre  Italien"  by 
Louis  Riccoboni,  and  the  other  is  a  volume  entitled 
"Masques  et  Boujfons"  by  Maurice  Sand,  the  son  of 
[xvii] 


INTRODUCTORY  NOTE 


Georges  Sand,  the  famous  novelist.  Both  of  these 
books  contain  interesting  illustrations  of  the  stock 
characters  in  Italian  comedy;  and  the  pictures  in 
"Masques  et  Bouffons"  are  reproduced  in  colors. 

The  Commedia  dell'  Arte  attained  its  climax  about 
the  year  1600,  but  its  career  was  extended  well  along 
into  the  eighteenth  century  by  the  interested  activity 
of  the  very  fertile  and  very  popular  playwright, 
Carlo  Gozzi.  The  essential  feature  of  this  type  of 
drama  was  that  the  lines  were  improvised  by  the 
actors  as  they  worked  their  way  through  the  scenes 
of  an  intrigue  which  had  been  carefully  plotted  in 
advance.  Throughout  the  seventeenth  century 
in  Italy,  the  general  public  showed  little  patience 
with  the  Commedia  Erudita  (the  phrase  may  be 
translated  into  contemporary  slang  as  "High-brow 
drama"),  in  which  the  lines  were  written  out  by  a 
man  of  letters  and  repeated  by  the  actors  parrot- 
wise.  Such  plays,  though  they  might  have  been 
composed  by  poets  as  eminent  as  Torquato  Tasso, 
were  condemned  by  the  populace  because  they 
lacked  what  seemed  the  essential  element  of  spon 
taneity.  It  will  not  be  difficult  for  us  to  understand 
the  attitude  of  the  Italian  public  toward  this  dis 
tinction,  if  we  apply  a  similar  test  to  our  own  con- 

[  xviii  ] 


INTRODUCTORY  NOTE 


temporary  art  of  after-dinner  speaking.  We  de 
mand  of  our  after-dinner  speakers  that  they  shall 
cull  their  phrases  as  they  go  along,  and  we  respond 
with  dulness  to  a  speech  that  has  been  evidently 
written  out  and  learned  by  rote.  The  president  of 
one  of  our  great  American  universities  has  been 
quoted  as  saying  that  any  professor  who  writes  and 
learns  a  lecture  is  merely  insulting  the  printing- 
press;  there  can  be  no  advantage  in  speaking  on  a 
subject  unless  the  speaking  be  spontaneous:  and 
this  was  the  attitude  of  the  old  Italian  public  toward 
the  actors  that  addressed  it  from  the  stage. 

A  single  set  sufficed  for  most  of  the  improvised 
Italian  comedies.  This  set  represented  a  public 
square  in  an  Italian  town,  a  meeting-point  of  several 
streets;  and  the  houses  of  the  leading  characters 
were  solidly  built  with  doors  and  windows  fronting 
on  the  square.  With  the  action  set  in  such  a  public 
place,  the  playwright  could  experience  no  embar 
rassment  in  motivating  his  entrances  and  exits;  any 
characters  could  meet  at  any  time  in  the  neutral 
ground  of  the  stage;  and  the  practicable  doors  and 
windows  of  the  surrounding  houses  could  be  em 
ployed  by  acrobatic  actors  in  the  exhibition  of 
exciting  scenes  of  elopement  or  of  robbery. 

[xix] 


INTRODUCTORY  NOTE 


One  of  the  most  definitive  features  of  the  Corn- 
media  deir  Arte  was  the  fact  that,  though  the  plays 
presented  differed  greatly  from  each  other  in  subject- 
matter  and  in  plot,  they  invariably  employed  the 
same  set  of  characters.  The  individual  actor  ap 
peared  in  many  different  plays,  wearing  always  the 
same  costume  and  the  same  mask.  Harlequin  made 
love  to  Columbine  in  play  after  play;  the  Doctor, 
from  Bologna  University,  repeated  the  same  sort  of 
pedantries  in  plot  after  plot;  and  the  Captain  Spa- 
vento  (a  lineal  descendant  of  the  Miles  Gloriosus  of 
Plautus)  swaggered  through  story  after  story. 
Individual  actors  became  so  completely  identified 
with  the  stock  characters  they  assumed  upon  the 
stage  that  they  bore  in  private  life  the  conventional 
names  of  their  impersonations.  A  letter  is  extant 
which  was  sent  by  Henry  Fourth  of  France  (the 
gallant  Henri  Quatre  of  Navarre)  to  a  famous  actor 
of  Italy  inviting  him  to  bring  his  company  to  Paris; 
and  this  letter  is  simply  addressed  to  Harlequin, 
since  the  royal  patron  had  no  knowledge  of  the 
actor's  actual  name.  Similarly,  the  famous  Scar- 
ramuccia  from  whom  the  immortal  Moliere  learned 
the  rudiments  of  his  craft  as  a  comedian  —  an  actor 
described  in  a  rhymed  chronicle  of  the  time  as  "le 

[XX] 


INTRODUCTORY  NOTE 


roi  des  comediens  et  le  comedien  de  rois"  —  has  come 
down  to  us  in  history  under  the  title  of  Scaramouche, 
with  no  recollection  of  his  parental  name. 

The  modern  stage  exhibits  many  analogies  to  this 
identification  of  an  actor  with  a  single  role.  For 
instance,  in  the  old  days  of  the  association  of  Weber 
and  Fields,  these  comedians  always  appeared  in 
precisely  the  same  parts,  regardless  of  any  difference 
of  subject-matter  in  the  comic  scenes  that  they  pre 
sented.  Mr.  Weber  invariably  depicted  a  fat  little 
man  who  was  easily  gullible;  and  the  leaner  and 
more  strenuous  Mr.  Fields  was  forever  getting  the 
better  of  him  and  using  him  as  a  butt  for  ridiculous 
persecution.  At  the  present  time,  Mr.  William  Col 
lier  approaches  very  nearly  the  method  of  the  old 
Italian  actors.  Regardless  of  the  particular  points 
of  any  play  in  which  he  chooses  to  appear,  he  always 
represents  precisely  the  same  character  —  a  peren 
nial  dramatization  of  his  individual  traits  as  a  come 
dian;  and  he  also  habitually  exercises  the  Italian 
actor's  license  of  improvisation  in  the  presence  of  an 
assembled  audience. 

Five  of  these  standard  acting  types  of  the  Corn- 
media  deir  Arte  are  revivified  by  Mr.  MacKaye  in 
his  new  play  on  Gozzi's  old  theme.  The  most  inter- 

[xxi] 


INTRODUCTORY  NOTE 


esting  figure  is  the  jJapocomico  —  the  leader  of  the 
troupe,  who  devises  the  scenari  of  the  plays  which 
they  present  and  rehearses  the  other  actors  in  the 
business  of  their  respective  parts.  ^This  creation  of 
the  author's  is  an  evocation  of  a  famous  figure  from 
a  nigh-forgotten  page  of  the  storied  past  of  the 
theatre,  and  may  serve  easily  as  a  starting  point 
for  a  series  of  very  interesting  researches  under 
taken  by  individual  students  of  the  history  of  the 
drama.l 

Though  Mr.  MacKaye's  play  has  been  written 
appropriately  in  English  verse,  aptly  varied  in  its 
forms  to  be  spoken  by  the  modern  actor,  the  reader 
should  remember  that  this  drama  is  designed  to 
appeal  more  emphatically  to  thej>ye_than  to  the 
^^ear.  It  should  be  regarded  as  a  modification  of  that 
type  of  Decorative  Drama  which  was  exhibited  by 
Professor  Reinhardt  in  his  masterly  production  of 
the  pantomime  of  "Sumurun."  For  his  background, 
Mr.  MacKaye  has  chosen  an  old  tale  of  the  Arabian 
Nights  which  is  hung  before  the  eye  as  a  fantastic 
bit  of  oriental  tapeptty;  and  in  the  foreground  he 
has  exhibited  in  silhouette  the  sharper  colors  of  the 
Rgancing  figures  of  his  group  of  Italian  rompHia.^. 
More  subtly,  this  play  may  be  conceived  as  a 
[xxii] 


INTRODUCTORY  NOTE 


parabolic  comment  on  a  problem  of  the  theatre  at 
the  present  time.  The  histrionic  disciples  of  Carlo 
Gozzi,  the  eighteenth  century  champion  of  tradi 
tional  romance,  are  depicted  as  having  lost  their 
fight  in  Venice  against  the  dramatist  Goldoni,  who, 
as  a  follower  of  Moliere,  was  regarded  at  that  time 
as  the  leader  of  the  realistic  movement;  and,  des 
pairing  of  being  accepted  any  longer  in  the  country 
of  their  birth,  these  romantic  outcasts  have  sought 
refuge  in  the  distant  orient,  an  orient  to  be  considered 
in  no  sense  as  historic  or  realistic,  but  as  purely 
fantastic.  At  the  present  time,  our  theatre  has 
been  conquered  (for  the  moment)  by  sedulous  re 
corders  of  the  deeds  of  here  and  now;  we  find  the 
drama  in  the  throes  of  a  new  realism,  more  potent  in 
its  actuality  than  the  tentative  and  groping  realism 
of  Goldoni;  and  our  romantic  playwrights,  like  these 
old  adventurous  and  tattered  histrions  of  Carlo 
Gozzi,  have  recently  sought  refuge  in  the  fabulous 
and  eye-enchanting  orient.  Hence  the  success,  in 
recent  seasons,  of  such  romantic  compositions  as 
"Kismet"  and  ((Sumurun9  and  "The  Yellow  Jacket:9 
To  escape  from  the  obsession  of  Broadway  and  the 
Strand  we  now  turn  eagerly  to  the  gorgeous  east, 
just  as  these  discarded  comedians  of  Gozzi's  sought 

[  xxiii  ] 


INTRODUCTORY  NOTE 


a  new  success  within  the  enchanting  and  alluring 
gates  of  the  city  of  Pekin. 

^Furthermore,  by  restoring  to  our  stage  the  old 
European  tradition  of  masks  in  his  group  of  "Mas 
kers,"  Mr.  MacKaye  flings  a  prophetic  shaft  in  the 
age-long  tourney  between  symbolism  and  naturalism 
in  the  arts  of  the  theatre .1 

CLAYTON  HAMILTON. 


A  THOUSAND  YEARS  AGO 


A  Thousand  Years  Ago 


TURANDOT 
ALTOUM 
ZELIMA    . 
CALAF     . 
BARAK    . 
CHANG 


CHARACTERS 

Asiatic 

.     Princess  of  Pekin 

Her  father,  Emperor 
.     Her  slave 
.     Prince  of  Astrakhan 
.     His  servitor 
.     Eunuch 

European 


SCARAMOUCHE 

PUNCHINELLO 

PANTALOON  . 

HARLEQUIN  [Mute] 

CAPOCOMICO  Their  leader 


>  Vagabond  Players  from  Italy 
utel) 


SCENES 

ACT  I. 
City  Gate  at  Pekin. 


ACT  H. 

Scene  1 :  Room  in  the  Imperial  Harem. 
Scene  2 :  Great  Hall  of  the  Emperor. 

ACT  III. 

Scene  1:  Anteroom  of  Harem. 
Scene  2:  Calaf's  Bedchamber. 

ACT  IV. 

Great  Hall  of  the  Emperor. 
[The  same  as  Act  II,  Scene  2.] 


ACT  FIRST 


ACT  FIRST 

Outside  a  city  gate,  at  Pekin. 

Above  the  gate,  in  a  row,  severed  heads  of  young  men 
are  impaled  on  stakes.  On  the  wall,  at  one  side,  more 
heads  of  older  men,  with  grizzled  locks,  stare  down: 
among  them,  conspicuous,  one  with  a  white  beard. 

It  is  early  morning;  the  sun  just  rising. 

The  gate  is  closed. 

From  behind  is  heard  barbaric  martial  music. 

Outside,  from  the  right,  drums  roll,  and  Chinese 
soldiers  enter,  accompanied  by  a  few  beggars  and  peas 
ants. 

Pausing  before  the  gate,  they  sound  a  trumpet. 

The  gate  is  opened  and  they  pass  within,  followed  by 
all,  except  two  beggars,  a  young  man  and  a  middle  aged. 

The  gate  remains  open. 

The  middle-aged  beggar  points  upward  at  the  head 
with  the  white  beard. 

The  younger  starts,  and  prostrates  himself  beneath 
it  with  a  deep  cry. 

[7] 


A  THOUSAND  YEARS  AGO 


Outside,  on  the  left,  a  twanging  of  stringed  instru 
ments  sounds  faint  but  merry.  It  draws  nearer,  and 
quickly  the  players  come  running  on  — five  tattered, 
motley  vagabonds  in  masks:  Scaramouche,  Harlequin, 
Punchinello,  Pantaloon  and  Capocomico. 

The  last,  leading  them  with  his  baton,  stops  in  the 
gateway,  before  which  Harlequin  executes  a  ballet-step 
dance,  while  Scaramouche,  Pantaloon,  and  Punchi 
nello  play  accompaniment  on  guitar,  mandolin  and 
zither. 

Breaking  off,  Punchinello  begins  to  improvise  an 
imitation  of  Harlequin's  dance,  but  being  beaten  over 
his  hump  with  a  thwacking  stick  by  Harlequin,  retreats 
with  grotesque  pantomime. 

At  their  merriment,  the  younger  beggar,  rising,  draws 
away  with  the  elder,  making  a  tragic  gesture  toward  the 
white-bearded  head  on  the  wall. 

Perceiving  them,  Capocomico  silences  the  musicians 
and  approaches  the  younger  beggar  curiously. 

Stepping  between  them,  the  folder  beggar  salaams 
and  asks  alms. 

Laughing,  Capocomico  turns  his  empty  pouch  wrong- 
side-out  and  bows  obsequiously,  extending  his  own  palm. 

The  other  Maskers  do  likewise,  sticking  out  their 
tongues. 


A  THOUSAND  YEARS  AGO 


Shrinking  from  them,  the  younger  beggar  draws  the 
older  away  with  him,  and  goes  off,  left. 

CAPOCOM1CO 

[Waving  them  adieu] 
Mohammed,  Confucius,  Buddha,  befriend  you !  — 

[Turning  to  his  troupe] 
Behold,  my  cronies,  beggars  —  beggars 
Bow  down  to  us !     Lo,  they  take  us  for  lordlings ! 
Ha,  what  did  I  tell  you?     Our  tables  are  turning: 
In  China  henceforward  we  shall  be  emperors. 

SCARAMOUCHE 

By  the  carcase  of  Charlemagne,  I'm  dog-aweary 
Of  twanging  these  gut  strings  for  breakfast. 

PANTALOON 

And  us,  too, 

Of  dancing  from  Venice  to  Pekin,  for  sixpence. — 
My  slippers  need  soling. 

PUNCHINELLO 

My  poor  hump  is  hollow! 
CAPO. 

Our  journey  is  ended!     Nimble  Sir  Harlequin, 
[9  1 


A  THOUSAND  YEARS  AGO 


[Bowing  to  each] 

My  lord  Pantaloon,  signore  Punchinello, 
Magnificent  Scaramouche  —  enter  your  Kingdom ! 


SCARAMOUCHE 


Enter  it !  —  Now,  by  the  eye-balls  of  Argus 
Where  is  this  same  kingdom,  Signore  Capocomico? 
My  kingdom  is  Breakfast:     Show  me  the  gateway! 


CAPO. 


[Pointing] 

Behold  it  before  you!    Within  there,  the  table 
Of  Fortune  is  spread  for  us,  served  by  her  hand 
maids  — 

Miming  Romance,  seductive  Adventure, 
Amorous  Magic  —  improvised  Comedy, 
And  all  the  love-charming,  blood-thirsting  Enchant 
ments 
Our  prosy  old  workaday  world  has  lost  wind  of. 

SCARAMOUCHE 

Ha,  beard  of  Balshazzar!  that  warms  me  a  bellyful! 
'Twas  all  for  the  likes  of  such  merry  contraptions 
We  were  kicked  out  of  Europe. 
[10] 


A  THOUSAND  YEARS  AGO 


CAPO. 

Precisely,  my  bully -boy! 

What  would  you?  —  At  home,  half  the  world  is  dys 
peptic 

With  pills  of  reformers  and  critics  and  realists. 
Fun  for  its  own  sake?  —  Pho,  it's  old-fashioned! 
Art  with  a  mask  on?  —  Unnaturalistic, 
They  warn  you,  and  scowl,  and  wag  their  sad  peri 
wigs.  — 

So  we  —  the  unmatched,  immortal,  Olympian 
Maskers  of  Antic,  —  we,  troop  of  the  tragical, 
Symbolical,  comical,  melodramatical 
Commedia  deW  Arte  —  we,  once  who  by  thousands 
Enchanted  to  laughter  the  children  of  Europe  — 
Behold  us  now,  packed  out  of  town  by  the  critics 
To  wander  the  world,  hobble-heel,  tatter-elbowed, 
Abegging  our  way  —  four  vagabond-players, 
And  one  master  director  —  me,  Capocomico ! 

PUNCHINELLO 

But  why  did  you  fetch  us  to  China? 

CAPO. 

Because,  my 

Punchinello,  in  China  there  are  no  technicians 
To  measure  our  noses  and  label  them  false  ones, 

in] 


A  THOUSAND  YEARS  AGO 


Or  question  our  subplots  and  call  them  fictitious. 
Here  in  China  the  world  lies  a-dream,  like  a  Thousand 
Years  Ago,  and  the  place  of  our  dreams  is  eternal. 
Here  in  China  Romance  still  goes  masquing  serenely 
With  dragons,  magicians,  clowns,  villains  and  heroes, 
So  that  five  motley  fellows  like  us  may  resume  our 
Old  tradetricks,  and  follow  our  noses  to  fortune !  — 
For  a  taste  point  your  own,  Punch,  up  there  at  the 
gate-stone ! 

PUNCHINELLO 

[Staring  up  at  the  heads] 

What  pretty  young  princes!  — But  where  are  the 
rest  of  them? 

SCARAMOUCHE 

By  Saladin !    They've  plenty  of  room  for  their  break 
fast! 

PANTALOON 

It  makes  me  light-headed  to  look  at  them. 

CAPO. 

Comrades, 

Consider,  I  ask  you,  where  else  but  in  China 
May  an  audience  view  so  romantic  a  prologue? 
These  gentlemen  open  the  comedy:     Yonder 
Behold,  in  the  sunrise,  they  flaunt  their  grim  Secret 
For  us  to  unravel:— Who  are  they?  What  means  it 
That  here,  on  a  gateway  of  Pekin,  these  gory 

[12] 


A  THOUSAND  YEARS  AGO 


Oracular  heads  stare  downward  in  silence? 

And  yonder  —  those  others?    Who's  he  in  the  white 

beard?  — 

Love,  jealousy,  murder  —  what  is  their  mystery? 
By  the  ghost  of  old  Gozzi,  now  what  are  we  good  for 
Unless  we  untangle  their  shadowy  intrigues !  — 
Follow  me,  then,  my  playboys!     Before  the  next 

sunrise 
Your  pouches  shall  burst  with  the  gold  of  their 

Secret.  — 

Follow  me !  —  Yonder  heads   are  our   mascots   to 
fortune! 

[Striking  their  instruments  and  running 
through  the  gate,  they  all  disappear 
within.  As  their  tinklings  die  away, 
the  two  beggars  reenter,  from  the  left] 

THE  YOUNGER  BEGGAR 

[Prostrating  himself  again  before  the  white 
bearded  head,  rises  with  up-lifted  arms] 
Father !  —  O  slaughtered  King  of  Astrakhan, 
Timur,  my  father !  — 

THE  OLDER  BEGGAR 

[Furtively] 

Calaf !    Have  more  care; 
There  may  be  ears  to  listen. 
[13] 


A  THOUSAND  YEARS  AGO 


CALAF 

[Distractedly] 

Let  them  hear !  — 
Oh,  he  has  held  me,  Barak,  on  his  knee, 
And  as  a  little  boy  I  clutched  that  beard 
With  playful  fingers:  golden  brown  it  was 
In  those  days,  and  the  first  bright  silver  hair 
When  I  had  found  and  plucked  it  out  — ,  his  eyes  — 
Oh,  those  poor  staring  eyes!  —  they  laughed  with 

light, 

And  with  those  mummied  lips,  —  red,  then,  as  wine — 
He  kissed  my  cheek,  and  his  warm,  happy  tears 
Wet  my  own  face,  childish  with  wonder.  —  Ah, 
My  father! 

BARAK 

Hush!     The   soldiers   of   Altoum 
Surround  us  here. 

CALAF 

Altoum!  damned  emperor 
Of  China  —  I  will  be  avenged  on  him 
Who  killed  my  father,  and  destroyed  our  kingdom! 

BARAK 

And  what  are  you  to  be  avenged  on  him?  — 
A  beggar. 

[14] 


A  THOUSAND  YEARS  AGO 


CALAF 

I  am  prince  of  Astrakhan ! 
BARAK 

No  longer;  he  is  dead.     Remember,  prince, 
How  you  were  drowned  a  year  ago.     That  night 
Altoum  destroyed  your  capitol  in  war, 
You  leaped  in  flight  into  the  river  Yen 
And  perished  there.  —  Do  not  forget. 

CALAF 

Forget? 

Forget  that  night?     That  night  I  died  indeed, 
And  rose  from  out  the  river's  chilly  death 
Into  strange  paradise:     A  garden,  walled 
With  roses  round :     A  moon,  that  zoned  with  pearl 
A  spirit  there:  a  lady,  garbed  in  gold 
And  her  more  golden  smile !     Wrapt  in  disguise  — 
A  beggar's  cloak,  which  you  had  hid  me  in, 
The  river's  ooze  still  staining  me  with  slime  — 
On  me  —  me,  outcast  and  destroyed,  she  smiled, 
And  tossed  for  alms  the  white  rose  from  her  hair!  — 
[Taking from  his  bosom  a  withered  roset 

he  looks  on  it  rapturously] 
My  deathless  rose! 

[15] 


A  THOUSAND  YEARS  AGO 


BARAK 

The  rose  of  Turandot 
Is  dangerous  as  her  smile. 

CALAF 

Ah,  were  it  not 

That  Turandot  is  daughter  of  Altoum, 
I  would  have  been  avenged  before  to-day.  — 
But  he  who  killed  my  father  —  is  her  father, 
And  she  is  more  than  life  or  death,  and  mightier 
Even  than  a  father  dead  and  unavenged: 
She  is  love. 

BARAK 

Ah,  desperate  boy,  you  nurse  this  love 
On  worse  than  poison.     Calaf,  hark  to  me. 
Have  I  not  served  you  and  your  royal  father 
Faithfully? 

CALAF 

More  than  faithfully:  lovingly. 

BARAK 

Then  by  my  love  of  you,  I  beg  you,  boy, 
Crush  your  mad  love  for  Turandot,  which  must 
Lead  only  to  your  death,  and  hasten  with  me 
Far  from  your  enemy's  city. 

CALAF 

My  enemy's? 

[16] 


A  THOUSAND  YEARS  AGO 


BARAK 

Altoum,  if  he  should  find  you  living,  would 
Spike  your  head  —  yonder.     Ah,  be  wise,  my  prince ! 
Root  out  this  rashness.     Throw  that  rose  away. 
See,  it  is  withered  —  dead.     So  let  your  love  be! 

CALAF 
[Smiling] 

Only  a  lover  rightly  loves  the  rose! 
Withered,  you  tell  me  ? — dead  ?    How  dull  is  the  sense 
Which  does  not  feel  the  soul!     For  me,  Barak, 
This  flower  still  blooms,  and  round  it  all  the  air 
Is  sweet  with  spirit-perfume,  even  to  swooning. 

BARAK 
[Rising] 

Then  it  is  vain.  —  My  middle  age  has  lost 
Its  smell  for  magic.  Well,  then,  I  must  be 
Content  to  play  the  beggar  with  my  prince. 

CALAF 

Yes,  it  is  vain.     For,  still  I'll  wear  her  rose, 
And,  in  this  beggar's  cloak  she  smiled  upon, 
Still  haunt  her  perilous  city.  —  I  have  heard 
This  morning  she  shall  pass  this  eastern  gate 
Coming  from  the  palace.  —  So,  my  old  dear  friend, 
Wait  with  me  here,  for  I  can  only  live 
By  feeding  on  the  glimpses  of  her  face. 

[17] 


A  THOUSAND  YEARS  AGO 


BARAK 

Come,  then,  this  way  and  beg,  for  folk  are  coming. 
[  They  draw  toward  the  gate.    Barak,  start 
ing  fearfully,  drags  Calaf  away  left] 
Great  heaven  —  the  emperor! 
CALAF 

The  emperor! 
Wait,  Barak.     Stop!  — No  further. 

[On  the  edge  of  the  scene,  they  crouch 
by  the  wall,  like  beggars.  Through 
the  gate  enter  Altoum  amid  Chinese 
courtiers,  accompanied  by  Capocomico 
and  followed  by  the  other  Maskers] 

ALTOUM 
[To  Capocomico] 

An  instant  is  enough 
For  inspiration,  and  you  have  inspired 
Fresh  hopes  in  me. 

CAPO. 

That  is  my  specialty, 
Your  majesty. 

ALTOUM 

Yet  it  is  strangely  sudden:  — 
You  and  your  motley  troop  spring  in  my  path 
[181 


A  THOUSAND  YEARS  AGO 


Like  gorgeous  mushrooms  from  exotic  soils, 
And  tempt  me  by  your  brilliance  and  surprise 
To  taste  your  newness.  —  Well,  I  am  desperate: 
Old  remedies  have  lost  their  tonic;  home 
Physicians  have  proved  quacks.     I  know  them  all 
You  —  I  know  not.     Therefore  I  will  accept 
Your  services. 

CAPO. 

We  are  practitioners 
In  every  specialty,  my  liege.     If  we 
Fail  to  perform  our  utmost  promise  —  well, 

[Pointing  to  the  gate] 

Our  heads  are  decorative;  they  will  adorn 
Your  majesty's  collection. 

ALTOUM 

Nay,  not  mine. 

Those  grizzled  heads  of  warriors  on  the  wall 
Are  mine:  the  trophies  of  my  victories. 
But  those  above  the  gate  —  those  youthful  brows 
Of  tragic  lovers,  hapless  in  their  love  — 
Those  are  my  daughter's. 

BARAK 
[To  Calaf] 

Do  you  hear,  my  prince? 
His  daughter's !     Oh,  take  heed ! 
[19] 


A  THOUSAND  YEARS  AGO 


CAPO. 

Your   majesty 

Allures  me.     Is  your  daughter  — 
ALTOUM 

Hush !  Come  closer. 
[He  leads  Capocomico  away  from  the  cur 
tain,  right.     Calaf  follows  furtively, 
heedless  of  Barak's  gestures] 
My  daughter  is  my  cause  of  desperation. 

In  all  but  her  I  have  been  fortunate: 

. 

In  peace,  most  prosperous;  in  war,  my  worst 
Of  rivals,  Timur,  king  of  Astrakhan  — 

[Pointing  at  the  wall] 

Yonder  you  see  his  head!     None  of  his  house 
Survives  to  avenge  him,  for  his  only  son 
Perished  by  drowning. 

CALAF 

[To  Barak,  who  implores  him  to  draw 
back] 

God !  if  I  remain, 
I'll  kill  him. 

BARAK 

[Drawing  him  away] 
Come! 

[They  go  within  the  gate] 
[20] 


A  THOUSAND  YEARS  AGO 


CAPO. 
Was  this  long  since,  my  liege? 

ALTOUM 

This  day  one  year  ago.  —  Some  months  I  kept 
Old  Timur  caged  before  I  bleached  him  there.  — 
And  strangely  it  was  on  that  very  night 
I  conquered  Astrakhan  the  change  began. 

CAPO. 

The  change  —  my  liege!  —  what  change? 
ALTOUM 

In  Turandot, 

My  daughter.     Always  till  that  time  her  mind 
Was  tender-mannered  as  her  face  is  fair. 
Till  then,  there  was  no  creature  living  whom 
She  would  have  harmed,  even  with  a  thought  of 

pain  — 

Least  of  all  those  who  loved  her.     But  that  night, 
Groping  by  moonlight  from  her  rose  garden 
Into  my  war  tent,  half  distractedly 
She  forced  from  me  a  promise  — 
CAPO. 

What  to  do? 

ALTOUM 

To  make  this  edict:     For  a  year  and  a  day, 
All  royal  suitors  of  her  hand  in  marriage 
[21] 


A  THOUSAND  YEARS  AGO 


Must  answer  first  three  rid'dles  put  by  her: 
To  him  who  answers  right  she  shall  be  wed; 
But  all  who  answer  wrong  shall  straightway  die 
And  their  dissevered  heads  be  spiked  in  scorn 
High  on  the  city's  gate. 

CAPO. 
[Looking  at  the  gate] 

So  those  are  they 
Who  answered  wrong! 

ALTOUM 

None  yet  has  answered  right. 

CAPO. 
But  why,  my  liege  — 

ALTOUM 

Why  did  I  give  consent 
To  publish  the  mad  edict?     This  is  why: 
I  worship  Turandot.     There  is  no  whim 
Of  hers  I  would  not  grant  to  make  her  happy,  — 
But  ah!  —  how  can  I  make  her  so? 

CAPO. 

Is  she 

Unhappy,  then,  in  her  success? 

ALTOUM 

At  times 
She  weeps  to  hear  the  headsman's  gong,  but  when 


A  THOUSAND  YEARS  AGO 


Her  lovers  cry  to  her  for  pity,  straight 
Her  eyes  grow  cold  with  sudden  cruelty 
And  give  the  sign  for  death. 

CAPO. 

Have  you  no  clue 
For  this? 

ALTOUM 

[Distractedly] 

No  clue?     Gods  of  my  ancestors, 
Have  I  not  sought  a  thousand  counsels,  all 
In  vain !  - —  A  gentle  girl,  a  dove  of  maidens, 
Sudden  transformed  to  be  a  thing  of  talons  — 
A  harpy -tigress !     Clue?     What  clue  have  I 
For  murder  in  the  bosom  of  a  dove?  — 

CAPO. 

Softly,  my  liege.     That  is  my  specialty. 
ALTOUM 

So  I  have  heard  from  specialists  before; 
Yet  now  I  feel  new  hope.     If  you  shall  find 
This  clue  —  whether  it  be  some  hidden,  strange 
Indisposition,  or  some  secret  reason 
Concealed  by  her —  and  if  you  find  the  cure,  — 
To  you,  and  to  these  motley  friends  of  yours, 
[231 


A  THOUSAND  YEARS  AGO 


I  will  bequeath  power  and  provinces 

And  wealth  unbounded.    But  —  pay  heed,  Sir  Capo! 

If  you  shall  fail  to  find  this  cause  and  cure, 

By  holy  Confucius,  I  will  doom  you  all 

To  tortures  and  slow  death.     So  to  perform 

Your  task,  I  grant  one  day  —  until  the  hour 

Of  noon  to-morrow.     Are  you  satisfied 

To  undertake  the  task?     If  not,  begone! 

CAPO. 

Your  majesty,  I  am  most  itching  pleased 
To  undertake  it  —  on  conditions. 

ALTOUM 

What? 

CAPO. 

For  this  one  day  /  must  be  emperor, 

In  place  of  you,  and  these  my  motley  friends  — 

Prime-ministers . 

ALTOUM 

My  star!  —  What  then,  Sir? 

CAPO. 

Then, 

My  liege,  I  most  devoutly  stake  my  head 
And  theirs,  with  these  our  masks  thereto  pertaining, 
Not  merely  to  ascertain  the  cause  and  cure 
Of  your  fair  daughter's  malady,  but  also  — 
[241 


A  THOUSAND  YEARS  AGO 


For  this,  my  liege,  is  my  true  specialty!  — 

I  undertake  to  see  her  happily 

Plight  in  a  perfect  marriage  of  romance. 

ALTOUM 

Great  Buddha!  Now, this  quickens  my  stale  blood  — 
To  meet  one  man  of  live  audacity! 
Ha!  bid  me  abdicate  —  usurp  my  throne  — 
A  one  day's  emperor!  —  Good;  be  it  so. 
Agreed :  —  But  on  your  head  the  consequences ! 

CAPO. 

May  the  consequences  let  my  head  be  on!  — 
Where  shall  I  find  your  daughter? 

[A  deep  bell  sounds  within  the  walls. 
Calaf  reenters  with  Barak] 

ALTOUM 

Hark!  the  gong! 
CAPO. 
What  gong? 

ALTOUM 

The  gong  of  death :  the  execution. 
Another  hapless  lover  has  guessed  wrong 
The  fateful  riddles.     Now  the  headsman  holds 
His  head,  and  Turandot  is  coming  here 
In  state,  to  impale  the  gory  token  —  yonder. 
[25] 


A  THOUSAND  YEARS  AGO 


BARAK 

[To  Calaf] 
You  hear!  —  You  hear? 

CALAF 
O  happy  lover,  whom 

The  dearest  of  women  honors  so  in  death! 

• 

BARAK 

Madness ! 

ALTOUM 

[To  Capocomico] 
By  heaven,  I  am  impatient  of 
Such  slaughter.     See  you  stop  it. 

CAPO. 
[Nodding  loftily] 

We  shall  bear 

In  mind  your  supplication,  Sir.  —  Meanwhile 
My  crown ! 

[He  extends  his  hand  for  Altoum's 
crown.  Altoum,  startled,  smiles, 
takes  it  off  and  hands  it  to  him] 

ALTOUM 

Gods  of  my  ancestors ! 

CAPO. 
[Putting  on  the  crown] 

And  now 
Present  to  us  our  court! 

[26] 


A  THOUSAND  YEARS  AGO 


ALTOUM 

[Bows,  laughing] 

Well  said,  my  liege! 
[Turning   to  the  Chinese  courtiers,   he 
beckons  them] 

Doctors  and  ministers  of  the  royal  Divan! 
Witness  our  will :  —  Until  to-morrow  noon 
We  abdicate  our  throne,  and  in  our  place 
Appoint,  with  all  our  high  prerogatives, 
Our  friend  and  servant  —  Capocomico. 
Salute  your  emperor! 

CAPO. 

[Nodding  affably] 

Emperor,  pro  tern! 

THE     CHINESE     COURTIERS 

[With  murmurs  of  astonishment,  pros 
trate  themselves  before  Capocomico] 
Salaam! 

CAPO. 

Not  at  all.     Delighted!     We  will  now 
Present  our  friend  and  servant  —  Scaramouche, 
Prime-Minister ! 

[271 


A  THOUSAND  YEARS  AGO 


[The    courtiers    salaam    before    Scara- 
mouche,  who  puts  his  hand  on  his 
heart  and  blows  them  a  kiss  from  his 
drawn  sword-point] 
And  next,   Sir  Harlequin, 
Prime-Minister! 

[The   courtiers   repeat.     Harlequin   re 
plies  with  a  ballet-curtsy] 
His  lordship,  Pantaloon, 
Prime-Minister ! 

[The  courtiers  repeat.     Pantaloon  shuf 
fles  nervously] 
And  Signore  Punchinello, 
Prime-Minister! 

[The  courtiers  repeat.  Punchinello,  tap 
ping  his  nose,  bows  sagely.  The 
four  Maskers  assume  ioploftical  airs 
and  gather  about  Capocomico] 

And  now,    Prime-Minister,    are  your  four  heads 
All  dumb?    Your  emperor  awaits  advice. 

SCARAMOUCHE 

By  the  belly  of  Baal,  your  majesty,  I  move 
We  all  adjourn  to  breakfast. 
[281 


A  THOUSAND  YEARS  AGO 


PANTALOON 

[Quickly] 

Second  the  motion! 

PUNCHINELLO 

Hear!  hear!    Applause! 

[Harlequin  dances  to  the  gate] 

CAPO. 

[Correctively] 

No  applause  in  court!     The  motion 
Rests  on  the  table  — 

[To  Scaramouche] 

with   your    breakfast.  —  Now 
More  pressing  matters  urge :     Our  imperial 
Daughter  —  Princess  of  Pekin  —  comes. 
ALTOUM 

[Gasping] 

Your  daughter! 
CAPO. 
Daughter,  pro  tern  I  — 

[To  all] 

The  princess  Turandot: 
Salute  her! 

[To  the  intermittent  toll  of  the  deep  gong, 
soldiers  enter  with  procession  to  slow, 
[29] 


A  THOUSAND  YEARS  AGO 


martial  music.  Amongst  them,  with 
regalia,  a  Headsman  bears  on  a  pike 
the  head  of  a  young  man,  which  he 
places  beside  the  others  over  the  gate. 

Finally,  accompanied  by  female  slaves, 
comes  Turandot,  dressed  like  her  fol 
lowers  in  garb  of  gloomy  splendor. 

In  the  crowd  Calaf  gazes  at  her  pas 
sionately.  With  him  is  Barak. 

The  Chinese  courtiers  prostrate  them- 


The  Maskers  bow  in  European  fashion] 

THE    CHINESE    COURTIERS    AND    CROWD 

Turandot !     Salaam ! 

CAPO. 
[Speaks  familiarly  to  the  emperor] 

Altoum, 
Present  to  us  our  newly  adopted  daughter! 

ALTOUM 

Turandot,  heaven  to-day  has  interposed 
To  grant  your  prayers.     Listen! 

TURANDOT 

[Looking  with   wonder  at  Capocomico 
and  the  Maskers] 

I  am  listening,  Sire. 
[301 


A  THOUSAND  YEARS  AGO 


ALTOUM 

'Tis  your  strange  prayer  never  to  marry.     Well, 
Henceforth  I  vow  no  more  to  oppose  your  whkn. 
One  year  has  passed  and  one  day  yet  remains 
Of  my  rash  law  that  dooms  your  lovers  to  death. 

[He  points  to  the  new  head  upon  the 

wall] 

For  that  one  day,  to  celebrate  my  vow 
And  do  you  pleasure,  I  have  appointed  these 
Princes  of  Faraway,  to  usher  in 
Our  new  regime.     Sir  Capocomico 
Is  now  your  emperor;  these  are  your  court 
To  make  a  festa  of  the  law's  last  day.  — 
After  to-morrow  you  are  free  forever. 

TURANDOT 

Sire,  are  you  jesting? 

CAPO. 

Signorina,  all 

We  dream  or  do  is  jesting,  and  ourselves 
The  butts  of  the  jester.     We  are  antics  all. 
To  advertise  it  is  my  specialty. 
Therefore,  if  we  be  kings  or  deuces  hangs 
On  how  the  clever  jester  cuts  his  pack. 
This  cut  I'm  king,  and 

[31] 


A  THOUSAND  YEARS  AGO 


[Pointing  to  the  Maskers] 

red  is  trumps,  not  black. 
So  doff  your  mourning,  daughter. 

TUBANDOT 

If  I  am  dreaming, 

Or  you  are  jesting,  this  is  the  pleasantest  jest 
My  heart  has  dreamed  in  all  one  doleful  year. 
Princes  of  Faraway,  I  welcome  you. 
This  bloody  sport  of  spiked  lovers'  heads  — 
I'm  tired  of  playing  it.     Those  heartless  fools 
That  sought  to  wed  a  princess  'gainst  her  will  — 
Look  how  they  read  my  riddle  on  the  air! 
Love  is  a  slippery  necklace.  —  Bring  me  laughter, 
My  one  day's  Sire,  and  I  will  bow  me  low 
And  kiss  your  garment. 

CAPO. 

Go  and  change  your  own,  then, 
To  match  our  motley. 

TUBANDOT 

I  will  go  —  and  laugh 
In  going. 

[To  her  slaves] 
Come! 

[Turandot  starts  to  return   ivithin  the 
gate.  Pushing  through  the  crowd,  Calaf 
[321 


A  THOUSAND  YEARS  AGO 


prostrates  himself  before  her,  with  a 
passionate  cry] 

CALAF 

Alms !  —  alms  for  hearts 
That  beg! 

[Reaching  toward  her,  Calaf  holds  up 
the  withered  rose. 

Gazing,  Turandot  pauses  an  instant, 
moves  past,  but,  looking  back,  stag 
gers,  trembling] 

TURANDOT 

Ah  me! 

[Swaying,  she  swoons  in  the  arms  of 
her  slave,  Zelima] 

ZELIMA 
My  lady ! 

CAPO. 

\Rushing  toward  her,  with  Altoum] 
Quick!     She's  falling! 

ALTOUM 

Turandot!  —  Kill  the  beggar. 

TURANDOT 

[Faintly,  recovering] 

No,  'tis  nothing. 
[33] 


A  THOUSAND  YEARS  AGO 


[To  Capocomico] 
Here,  give  him  this. 

CAPO. 

[Taking  it,  astounded] 
Your  ring? 

TURANDOT 

A  token,  Sire.  — 

A  token  of  our  new  regime:  to  all 
My  people  —  blessing,  and  to  beggars  —  love. 
[She  goes  out] 

ALTOUM 

[Going  with  her] 
Attend  her  well,  Zelima. 

[All  follow  after,  and  at  a  gesture  from 
Capocomico,  pass  out.  Near  the  gate 
the  Maskers  pause  and  wait  for  Capo 
comico,  who  returns  to  Calafl 

CAPO. 

Fellow,  rise! 
[Calaf  staggers  to  his  feet] 
Your  most  high  princess  graciously  bestows 
This  alms  —  a  ring,  in  token  of  her  love 
To  all  the  world. 

[34] 


A  THOUSAND  YEARS  AGO 


[Taking   it,    Calaf  falls   again   to    the 

ground.     Barak  comes  to  him. 
Capocomico  watches,  and  beckons,  twink 
ling,  to  the  Maskers] 
Now  heaven  witness  this :  — 
He  also  swoons.     My  play-boys,  catch  your  cue. 
Who  said  Romance  is  buried?     Here  is  China 
Where  princesses  and  beggars  swoon  to  meet!  — 

[Surreptitiously,  he  takes  from  Calaf  s 
side    a    wallet.      Then    beckons    the 
Maskers.] 
Prime-Minister,  follow  your  emperor! 

[He  departs  with  the  Maskers] 

BARAK 

[With  solicitude] 
Calaf  —  my  prince! 

[He  raises  him  to  a  sitting  posture] 

CALAF 

[Dazedly] 

Her  ring ! 

BARAK 

We  must  be  gone  — 
Danger  surrounds  us  here. 
[351 


A  THOUSAND  YEARS  AGO 


CALAF 

[Rising] 

Her  ring  for  token ! 
But  ah!  —  he  said  "to  all  the  world/' 

BARAK 

Be  quick! 

CALAF 

{With  suddenness] 
I  will.     This  instant  I  will  follow  her. 

BARAK 

Follow  her!  —  what,  to  death? 

CALAF 

Death  or  delight, 

Either  or  both,  for  death  itself  were  joy 
For  her  sake. 

BARAK 

Do  you  wear  that  ring  in  hope? 
A  beggar? 

CALAF 

No,  she  gave  it  as  an  alms, 
"To  all  the  world."     The  princess  of  the  world 
Would  never  stoop  in  love  to  wed  with  less 
Than  royal  blood.  —  There  is  no  hope  for  me, 
A  beggar. 

[36] 


A  THOUSAND  YEARS  AGO 


BARAK 

How,  then  — ? 

CALAF 

T.  will  go  as  prince  — 
As  Calaf,  prince  of  Astrakhan,  I'll  go 
To  guess  her  riddles  —  like  those  others. 
BARAK 

No! 

That  would  be  doubly  death.     Your  head  is  forfeit 
If  you  are  even  found. 

CALAF 

Few  know  me  here,  or  none, 
In  Pekin;  yet  though  every  dog  should  know  me 
I'll  do  it.  —  Here,  keep  safe  this  beggar's  cloak : 
I  love  it  for  her  sake.     This  ring  and  rose 
Guard  as  your  life.     Come  now;  help  me  remove 
This  stain  and  straggled  beard.     Then  wait  for  me, 
Till  I  have  won  my  love  —  or  perish  there ! 

[Pointing  to  the  heads  on  the  gate,  he 
rushes  into  the  city.] 

BARAK 

[Following  him] 
Lord  of  mad  lovers,  save  him ! 

Curtain. 
[37] 


ACT  SECOND 


ACT  SECOND 

SCENE  I:  A  Room  in  the  Harem 

On  a  low  bench  Zelima  is  seated,  sewing  a  gorgeously 
embroidered  garment.  About  her  are  other  female  slaves. 
At  the  back  stands  Chang,  the  chief  Eunuch. 

ZELIMA 

[Stops  sewing  and  listens] 
There!    Hark!    I  hear  it  again. 
CHANG 

I  can  hear  nothing. 

ZELIMA 

You're  growing  deaf,  Chang.     Some  one  is  knock 
ing  —  softly. 

CHANG 

[Opening  the  door,  left} 
No  one  is  here. 

ZELIMA 

Below  —  at  the  outer  door. 
See  who  it  is. 

[41] 


A  THOUSAND  YEARS  AGO 


CHANG 

I  will  see. 

[He  goes  out,  closing  the  door.  Zelima 
sews  for  a  moment;  then  rises,  puts 
away  her  needle  and  spreads  out  the 
garment,  surveying  it. 

From  the  right  Turandot  enters,  splen 
didly  arrayed. 

She  runs  impetuously  to  Zelima  and 
embraces  her] 

TURANDOT 

Zelima!     Zelima! 
Little  Zelima! 

ZELIMA 

[Affectionately] 
My  lady! 

TURANDOT 

Dance  with  me!  —  Dance! 
ZELIMA 
I  heard  a  knocking,  my  lady. 

TURANDOT 

[Pressing  her  left  side] 

You  heard  it  —  here. 

My  lover  is  knocking,  and  I  have  let  him  in. 
[42] 


A  THOUSAND  YEARS  AGO 


ZELIMA 

[Frightened] 
You've  let  him  in,  my  lady? 

TURANDOT 

[Laughing] 

Into  my  heart! 
He  came  a-begging.     Oh,  does  he  love  me,  Zelima? 

ZELIMA 
[Concernedly] 
He  kept  your  rose. 

TUBANDOT 

The  rose  I  tossed  from  my  garden 
In  Astrakhan,  one  year  ago  to-night  — 
Isn't  he  handsome,  Zelima? 
ZELIMA 
[With  conscientious  pause] 

Handsome,  my  lady? 

TURANDOT 

Splendid  and  fair  like  a  prince ! 

ZELIMA 

He  is  a  beggar. 

TURANDOT 

I  spoke  of  his  soul  —  his  eyes.     His  eyes  are  sap 
phires  ; 
All  other  men's  are  clay. 

[43] 


A  THOUSAND  YEARS  AGO 


ZELIMA 

[Dubiously] 

His  face  was  dirty. 

TTJRANDOT 

[Slapping  Zelima's  arm] 

Stop  it,  you  dunce!    His  face  was  nobly  tanned 
By  sun  and  rugged  wind. 

ZELIMA 
I  thought  his  beard  — 

TUBANDOT 

His  beard  —  God  did  his  best :    I  want  no  better. 

ZELIMA 

You  —  want  a  beard,  my  lady? 

TURANDOT 

Stupid  Zelima! 

Where's  my  new  robe?     I'll  wear  it  to-day  —  for 
him. 

ZELIMA 

[Helping  her  on  with  the  embroidered 

garment] 
You  like  it? 

TURANDOT 

Are  not  gold  and  gorgeousness 
For  joy?     To-morrow  ends  my  year  and  a  day. 
[44] 


A  THOUSAND  YEARS  AGO 


Then  no  more  suitors  —  no  more  severed  heads ! 
I  shall  be  free  then  —  free  to  search  for  him 
Through  all  the  city. 

ZELIMA 

Search  for  a  beggar!     Why, 
My  lady? 

TURANDOT 

Must  I  scratch  your  silly  eyes  out 
To  make  them  see?  —  Of  all  men  that  love  women, 
I  will  have  none  for  husband  —  if  he'll  have  me  — 
But  him,  the  man  to  whom  I  gave  my  ring. 

ZEUMA 

Holy  Confucius  save  you,  lady !     You, 
Princess  of  Pekin,  wed  a  beggar! 

TURANDOT 

Hush! 

Unless  I  dream  so  and  rejoice  to-day 
Then  I  must  wake  and  tear  my  flesh  for  grief 
That  I  was  born  Princess  of  Pekin.     Oh, 
Little  Zelima,  let  me  dream  I  am 
A  beggar-maid,  or  he,  my  beggar  —  a  prince! 

ZELIMA 

I  hope  your  royal  father  hears  no  word 
Of  this,  my  lady.     He  would  kill  your  lover 
Sooner  than  you  should  wed  him. 
[45] 


A  THOUSAND  YEARS  AGO 


TURANDOT 

I  know  it  well. 

So  I  have  kept  my  secret  this  long  year, 
And  let  full  many  a  brave  prince  lose  his  head 
To  hide  my  true  love.     Do  not  make  me  weep 
Again  for  pity  and  despair.     For  now 
Fresh  hope  has  come.     This  Capocomico 
Has  changed  my  father's  heart  to  set  me  free 
To-morrow.     Only  one  more  day  is  left; 
You  only  know  my  secret;  none  can  guess  it; 
And  for  this  final  day  there  is  no  suitor 
To  claim  my  hand. 

[Chang  enters,  left,  in  perturbation.  Tur- 
andot  looks  up  inquiringly] 
Well  —  well? 

CHANG 

Another  suitor 
Has  come,  my  lady. 

TURANDOT 

Nay,  alas! 

ZELIMA 

What,  —  here? 
Is  he  at  the  door? 

[46] 


A  THOUSAND  YEARS  AGO 


CHANG 

Not  him,  —  the  emperor 
Is  at  the  door.     He  comes  to  tell  you,  lady, 
And  asks  admittance. 

TURANDOT 

What,  my  father! 

CHANG 

[Fidgetting] 

Not 

Your  royal  father:     The  new  emperoi 
Is  here. 

TURANDOT 

Sir  Capo  here! 

ZELIMA 

[Appalled] 

Here,  in  the  harem! 
CHANG 
What  should  I  do,  your  highness? 

TURANDOT 

[Staring] 

What  can  it  mean? 
CAPO. 

[Entering,  left] 
The  new  regime,  fair  ladies ! 

[To  Zelima,  who  runs  with  the  other  slave 
girls  toward  the  doorf  right] 
[471 


A  THOUSAND  YEARS  AGO 


I  beseech  you, 

Do  not  be  timid:    All  true  love  romances 
Are  hatched  in  harems.     'Tis  my  specialty. 

[Dressed  in   robes   of  royal   splendor, 
Capocomico  stands  smiling  at  them] 

TUBANDOT 

Sir,  this  intrusion  breaks  our  ancient  law. 
CAPO. 

To-day  —  O  lovely  daughter!  —  7  am  the  law 
And  legalize  intrusion. 
[To  Chang] 

You  may  go. 

[Chang  pauses,  dubious,  but  at  a  gesture 
from  Capo,  departs  hastily.  Zelima 
goes  timorously  to  Turandot9  whose 
eyes  flash] 

TUBANDOT 

Will  you  make  entrance  here  against  our  wills, 
Or  why,  then,  have  you  come? 

CAPO. 

[Smiling] 

For  a  beggar's  sake. 
[48] 


A  THOUSAND  YEARS  AGO 


TURANDOT 

[With  sudden  start] 
A  beggar's? 

CAPO. 

What  I  bring  will  fill  four  ears  — 
No  more. 

TURANDOT 

[Faintly] 
Zelima,    wait   within  —  close   by. 

[Zelima  goes  out,  right  with  the  slave  girls] 
Well,  Sire,  what  do  you  bring  me? 

CAPO. 

Riches,  child, 
In  a  ragged  wallet. 

[He  takes  out  Calafs  wallet,  and  holds 
it  toward  her.] 

TURANDOT 

[Starting] 

This!     Why  bring  me  this? 
CAPO. 
Hold  it,  and  feel  how  heavy. 

TURANDOT 

[Slowly  takes  it,  peering  in] 

Why,  'tis  empty. 
[49] 


A  THOUSAND  YEARS  AGO 


CAPO. 

What  is  so  heavy  as  an  empty  heart 

Hollow  with  yearning !     This  has  yearned  for  love 

Until  it  cracked.     Look  there  —  those  sorry  gashes 

TURANDOT 

What  should  I  do  with  it? 

CAPO. 

Heal  its  wounds,  and  fill  it 
WTith  royal  favor. 

TURANDOT 

[Reticent] 

Sire,  you  talk  in  riddles. 

CAPO. 

Daughter,  you  kill  in  riddles.  —  Will  you  kill, 
Or  heal,  this  beggar's  heart  I  bring? 

TURANDOT 

Ah  me! 

[A7o  longer  suppressing  her  feelings,  she 

kisses  the  wallet  passionately.} 

How  have  you  guessed  my  soul?     How  have  you 
guessed? 

CAPO. 

The  souls  of  lovers  are  my  specialty.  — 
When  princesses  grow  pale,  and  beggars  swoon, 
Then  I  bring  forth  my  wallet  —  and  prescribe. 

TURANDOT 

Alas  —  he  swooned?     Where  is  he?     Is  he  ill? 
[501 


A  THOUSAND  YEARS  AGO 


CAPO. 

Unnecessary  questions,  child:  Of  course 
He  swooned.  Where  is  he?  He's  in  love, 
Of  course,  and  so  of  course  is  deathly  ill. 

TURANDOT 

Oh,  by  the  simple  truth  you've  torn  from  me, 
Do  not,  I  beg,  speak  sideling,  but  straight  out: 
That  beggar  whom  I  love  —  how  fares  he  now? 
Where  have  you  left  him? 

CAPO. 

By  the  city  gate. 

There,  when  he  saw  your  ring,  he  fell  in  swoon; 
And  so  I  left  him. 

TURANDOT 

[Passionately] 

Find  him!     Find  him  for  me, 
And  I  will  give  you  kingdoms! 
CAPO. 

Kingdoms,  child, 

Are  shaky  things.     Give  me  your  confidence: 
Then  I  will  find  him  for  you. 

TURANDOT 

All  my  faith, 

My  gratitude  and  wonder  —  they  are  yours !  — 
When  will  you  fetch  him? 

[51] 


A  THOUSAND  YEARS  AGO 


CAPO. 

Soft!     To  achieve  for  you 
Joy  in  a  perfect  marriage  of  romance  — 
That  is  my  vow.     'Tis  yours,  for  a  single  day, 
To  swear  me  loyalty. 

TURANDOT 

I  swear  it.  —  Ah, 

But  do  not  tell  my  father.     He  would  kill 
My  hopes. 

CAPO. 

Your  father  —  I  will  educate; 
And  for  your  low-born  lover,  I'll  despatch 
The  eight  proud  legs  of  my  prime-minister 
To  stalk  the  city  till  they  stumble  on  him. 
By  nightfall,  I  will  give  you  news  what  luck 
They  meet.     Meantime,  you  must  prepare  once  more 
Your  riddles  for  your  final  suitor. 

TURANDOT 

[Appalled] 

What! 

CAPO. 

. 

Keedur,  the  young  khan  of  Beloochistan, 
Waits  in  the  hall  below,  to  try  his  fate 
To-day. 

[52] 


A  THOUSAND  YEARS  AGO 


TURANDOT 

Keedur?     Another!     Must  another 
Still  die  on  this  last  day?     Oh,  misery! 
And  I  to  run  the  awful  risk  once  more !  — 
When  must  this  be? 

CAPO. 

This  hour,  in  the  great  hall 
Of  the  imperial  Divan.     Rest  you  merry, 
My  child,  and  whet  your  riddles  sharp.  —  Good-bye ! 

TURANDOT 

[Detaining  him  by  a  swift  gesture] 
Not  yet!     Stay  yet  a  little:     Help  me! 

CAPO. 

How? 

TURANDOT 

To  shape  my  riddles  so  no  man  that  lives 
Can  answer  them. 

CAPO. 
[Bows,  smiling] 

Why,  that's  my  specialty. 

TURANDOT 

[Slowly,  with  desperation.] 
Capo,  those  riddles  hold  his  life  or  mine : 
If  Keedur  guesses  them  —  I'll  kill  myself. 

Curtain 
[53] 


A  THOUSAND  YEARS  AGO 


SCENE  II :  Great  Hall  of  the  Emperor's  Divan. 

On  either  side  is  a  high  tower,  with  entrance. 

Down  scene  on  the  left  stands  the  Emperor's  throne, 
opposite  the  throne  of  Turandot. 

As  the  curtain  rises,  Scaramouche,  Punchinello, 
Pantaloon,  and  Harlequin  enter,  dragging  in  Barak 
by  four  purple  ropes  attached  to  his  neck. 

Barak  carries  a  ragged  bundle. 

At  the  centre  he  falls,  prostrating  himself  before  them. 

The  four  Maskers  are  dressed  sumptuously  in  Chi 
nese  garments,  worn  over  their  own  tattered  garbs 
of  motley,  which  —  at  times,  when  they  gesticulate  or 
move  abruptly,  —  are  fantastically  visible. 

BARAK 

Mercy  and  clemency,  your  highnesses ! 

PUNCHINELLO 

Your  highness,  slave!     Address  thy  vermin  speech 
To  the  Prime-Minister. 

BARAK 

To  which,  O  Lord? 
[541 


A  THOUSAND  YEARS  AGO 


SCARAMOUCHE 

By  the  eye  of  Og  and  head  of  Hamongog, 

To  us,  thou  quaking  mongrel!     Howl  thy  prayers 

Quadra tely  to  thy  quadrigeminal  master! 

BARAK 

[Revolving  himself  fearfully] 
Mercy,  O  Master! 

PANTALOON 

First  confess  thyself! 
Where  is  he? 

PUNCHINELLO 

Where's  thy  fellow  beggar?     Speak! 

SCARAMOUCHE 

Tooth  of  the  Turk!  —  Disgorge  him! 

[Harlequin  thwacks  Barak  on  the  head 
with  his  flat- stick] 

BARAK 

Lord,  I  know  not. 

I  am  an  old  poor  man.     I  have  no  fellow 
To  beg  with  me. 

PANTALOON 

Thou  lousy  bag  of  lies ! 
He  swooned  beside  thee  at  the  city  gate. 

[55]    ' 


A  THOUSAND  YEARS  AGO 


PUNCHINELLO 

He  took  the  Princess'  ring  for  alms.     Where  is  he? 

SCARAMOUCHE 

[Tightening  his  rope] 
By  Sardanapalus !     Squeeze  off  his  neck 
And  pick  the  secret  from  his  gullet. 

BARAK 
[As  Harlequin  bangs  him  again] 

Spare  me! 
[Enter,  left,  Capocomico] 

CAPO. 

Hah !   here's  our  beggar's  crony. — Where's  thy  mate, 
Old  gaffer? 

BARAK 

Spare  me,  lord!    I  have  no  mate  — 
I  beg  alone. 

CAPO. 

Where  was  he  found  —  this  fellow? 

SCARAMOUCHE 

Godbodikins!     We  caught  him  gutter-skulking 
Behind  the  palace. 

CAPO. 

What's  here  in  this  pack? 
[56] 


A  THOUSAND  YEARS  AGO 


BARAK 

[Fearfully  clutching  his  bundle] 
Old  rags,  your  mightiness:  poor  worthless  pickings* 

CAPO. 

Conduct  him  to  my  quarters.      Search  him  there 
And  look  what  this  contains. 

[The  four  begin  to  drag  him  out  with 
the  ropes] 

BARAK 

A  —  y  i !    Alas ! 

PUNCHINELLO 

[Mocking  him] 
A  —  yi,  old  pickings ! 

SCARAMOTJCHE 

[Pulling] 

Sacrasacristan ! 
Heave-ho,  my  hearts! 

CAPO. 

Hold  him  in  custody 
Till  I  can  question  further. 

BARAK 
[Crying  aloud] 

Calaf,  save  me! 

PANTALOON 

We'll  save  'ee  in  salt,  old  calf! 
[57] 


A  THOUSAND  ^SARS  AGO 


SCAKAMOUCHE 

Yank-ho,  there! 
[They  drag  him  out,  left] 

CAPO. 
[Stands  meditating] 

Calaf! 

[Hardly  have  they  disappeared,  when 
Calaf  enters  hastily,  right,  looking 
about  him  with  a  startled  expression. 
He  is  dressed  in  princely  regalia,  and 
his  face  is  shaved.  Seeing  Capo,  he 
pauses  abruptly,  and  makes  obeisance] 

CAPO. 
Greetings,  Sir  Keedur!  —  You  are  searching  here? 

CALAF 

[Embarrasssed] 

Nothing,  your  majesty.     It  seemed  I  heard 
A  voice  here  cry  in  terror. 

CAPO. 

Cry  —  on  whom  ? 
CALAF 
Nay,  Sire,  I  do  not  know. 

CAPO. 

'Twas  just  a  beggar 
That  cried  at  being  expelled. 
[581 


A  THOUSAND  YEARS  AGO 


CALAF 

Expelled?  —  Where  to? 

CAPO. 

[With  a  flitting  smile] 
You  —  care  to  know? 

CALAF 

Nay,  Sire,  why  should  I  care? 
CAPO. 
Nay,  why  indeed?     You  caught  me  querying. 

CALAF 

[Turning  to  leave] 
Forgive  that  I  disturbed  your  thoughts. 

CAPO. 

My  thoughts 

Were  trying  to  construe  the  beggar 's  cry. 
"Calaf,  save  me!"  he  called. 

CALAF 

[Pausing,  with  a  faint  start} 

Ah  — Calaf?  So! 

CAPO. 

An  odd  coincidence,  for  'tis  one  year 
To-night  since  Calaf,  prince  of  Astrakhan, 
Perished  by  drowning  in  the  river  Yen.  — 

[With  slow  emphasis] 
He  was  the  Emperor's  arch-enemy. 
[591 


A  THOUSAND  YEARS  AGO 


CALAF 

[Calmly] 
An  odd  coincidence! 

CAPO. 

And  still  more  odd 

It  might  be  —  might  it  not?  —  if  Keedur,  Khan 
Of  far  Beloochistan,  had  chanced  to  know 
Or  meet  this  Calaf. 

CALAF 

Still  more  odd. 
CAPO. 

Perchance 
He  never  did! 

CALAF 

[Fidgetting  slightly] 

I  never  met  him,  Sire. 

CAPO. 

[With  a  quick  glance] 
That  being  so,  we  must  no  more  delay 
Your  audience  with  the  princess.     My  ear  itches. 
Methinks  by  that  your  suit  will  prosper;  let  me 
Conduct  you  to  your  place  of  waiting.     Come, 
And  by  the  way,  I  will  confide  to  you  — 
I  have  a  specialty. 

[60] 


A  THOUSAND  YEARS  AGO 


CALAF 

In  what,  Sire? 

CAPO. 

[Smiling,  as  they  go  out] 

Riddles. 

[Enter  Altoum  and  Chang.     They  look 
after  Capo   as  he  departs] 

ALTOUM 
In  the  harem,  with  my  daughter  — ? 

CHANG 
[Obsequiously] 

Even  so, 
O  Majesty. 

ALTOUM 

And  closeted,  you  say, 
An  hour  with  her ! 

CHANG 

An  hour,  O  Majesty. 

ALTOUM 

But  you  kept  watch:     The  Princess,  she  was  not 
Alarmed? 

CHANG 

Her  royal  highness  seemed 
Moved  in  her  spirit,  O  Majesty. 
[61] 


A  THOUSAND  YEARS  AGO 


ALTOUM 

Moved  ?     So ! 

Well,  Chang,  inform  me  further  what  you  note. 
To-day  this  stranger  reigns  as  Emperor. 
Obey  him. 

[Capo  r centers,  right] 

CHANG 

[Salaaming  to  a  gesture  of  dismissal 
from  Altoum] 

As  your  Majesty  decrees. 
[Exit] 

ALTOUM. 

[Greets  Capo  cordially] 

Hail,  friend !     You  wear  my  Empire  as  you'd  worn  it 
Life  long. 

CAPO. 

[Laughing] 
I'll  wear  it  longer  if  you  like. 

ALTOUM 

Perchance  I'll  let  you.     As  for  me,  I  feel 
Lighthearted  as  a  schoolboy  playing  truant. 
This  abdicating  gives  me  appetite 
For  holidays.  —  And  what  success  so  far? 

[621 


A  THOUSAND  YEARS  AGO 


CAPO. 
So  far  —  perfection. 

ALTOUM 

Have  you,  then,  discovered 
My  daughter's  malady? 

CAPO. 

I've  diagnosed 
Already,  and  prescribed. 

ALTOUM 
[Eagerly] 

What  is  the  ailment? 
CAPO. 

Ah!  question  the  doctor  when  he  makes  the  cure. 
Another  twenty  hours ! 

ALTOUM 

To  rule  is  sweet, 

I  see.     Good  luck  attend  your  reign!     If  so, 
I  have  four  kingdoms  waiting  for  your  fellows, 
And  for  yourself  a  petty  empire  —  but, 
Forget  not  —  Sire!     For  failure  I've  prepared 
Five  torture  chambers  and  a  sharpened  axe. 

CAPO. 

Tomorrow,  then,  four  kingdoms  shall  have  kings! 
As  for  the  petty  empire,  I'll  return  it 
[631 


A  THOUSAND  YEARS  AGO 


With  compliments,  and  count  myself  well  quit 
To  have  served  your  Majesty  and  true  Romance. 

[Kettledrums  are  sounded  within] 
Now,  then,  to  pass  the  first  ordeal.  — Pray  follow! 

ALTOUM 

[Attending  him,  left] 

This  suitor  Keedur  —  I  like  well  his  looks 
And  bearing.     What  if  he  should  guess  the  riddles? 

CAPO. 
That  lies  now  with  the  Fates  —  and  they  obey  me. 

[They  go  out. 

To  the  sound  of  kettledrums,  tambourines 
and  music  outside,  the  scene  is  now 
for  a  moment  empty.  Then  from 
both  entrances  two  processions  enter 
simultaneously. 

From  the  right  enter  Eunuchs  and 
female  slaves  of  the  harem;  from  the 
left  Chinese  soldiers  and  courtiers 
of  the  Emperor's  suite. 

With  ceremonial,  salaaming   and  flare 
of  music,  the  persons  in  the  proces 
sions  group  themselves  on  either  side 
about  the  thrones. 
[64] 


A  THOUSAND  YEARS  AGO 


Entering  last  in  their  separate  proces 
sions  come  Turandot  and  Capocomico 

—  the  latter  accompanied  by  Altoum, 
as  a  subordinate. 

On  the  right  throne  Turandot  sits,  on 
the  left  —  Capocomico. 

All  the  others  prostrate  themselves,  except 
Altoum,who  stands  beside  a  lesser  seat, 
at  the  right  of  Capo's  throne. 

Having  taken  their  positions,  at  a  signal 
from  Capo,  all  are  served  with  tea  in 
little  cups,  which  they  sip  simultane 
ously  thrice,  then  resume  their  former 
obeisances. 

To  this  gathering  now  enter  three  of  the 
Maskers  —  Scaramouche,  Punchi 
nello  and  Pantaloon  —  bearing  sever 
ally  three  golden  platters,  on  which 
stand  little  jeweled  boxes,  closed. 

Behind  them  follows  Harlequin,  who 
bears  a  great  parchment  roll,  which 

—  with  bows  and  ballet-dancings  — 
he  lays  before  the  throne  of  Capo; 
then  takes  his  stand  at  Capo's  left. 

Lastly  Calaf  enters,  alone. 
'[65] 


A  THOUSAND  YEARS  AGO 


Bowing  to  the  throne,  he  remains  in 
the  centre,  where  he  gazes  rapt  at  Tur- 
andot. 

Capo  now  rises,  and  Altoum  seats  him 
self] 

CAPO. 

Powers  of  our  royal  Divan  and  our  Harem, 
Once  more,  in  token  of  our  sovereign  will, 
We  are  assembled.  Let  the  law  be  read! 

[He  sits.  Harlequin,  stepping  forward 
with  a  flourish,  presents  the  roll  of 
parchment  to  Punchinello,  who,  ex 
changing  with  him  his  platter  for  the 
script,  reads  in  a  shrill  voice} 

PUNCHINELLO 

To  high  Confucius  and  our  ancestors  — 
Worship  and  awe!     The  edict  of  Altoum 
In  re  the  royal  princess  Turandot 
Perpends:     To  suitors  of  her  august  hand 
Who  guess  her  riddles  —  marriage,  riches,  joy ! 
To  all  who  fail  —  shame,  execution,  death ! 
None  save  of  royal  blood  shall  qualify. 

[Harlequin    receives  back  the  roll  from 
Punchinello,  and  resumes  his  place] 
[661 


A  THOUSAND  YEARS  AGO 


CAPO. 
Who  seeks  the  august  hand  of  Turandot? 

CALAF 

[Standing  forward] 
I,  Keedur,  Khan  of  great  Beloochistan. 

CAPO. 

Keedur,  full  many  noble  youths  before  you 
Have  made  this  trial;  all  have  failed  —  and  died. 
Have  you  considered  well  their  doom,  O  Khan? 

CALAF 

There  is  no  doom  for  me  but  loss  of  her; 
If  then  I  fail,  death  can  but  ease  my  doom. 

TURANDOT 

[In  a  low  voice] 

His  eyes,  Zelima!     Oh,  I  would  he'd  look 
Another  way. 

ZELIMA 

It  is  a  lovely  youth. 
CAPO. 

Think  well,  you  are   young.     You  may  even  still 

withdraw 

And  live  these  many  years. 
[67] 


A  THOUSAND  YEARS  AGO 


CALAF 

^  [His  eyes  meeting  Turandot' s,  who  looks 

at  him  anxiously] 

If  I  must  die, 
I  shall  have  lived  forever  in  this  instant. 

CAPO. 
Then  let  the  trial  proceed. 

TURANDOT 

Fair  stranger,  first 
Hear  me,  and  so  relent. 

CALAF. 

My  spirit,  lady, 
Stands  tiptoe  to  your  words. 

TURANDOT 

You  have  not  well 

Considered  what  you  seek;  but  I,  who  know, 
Can  better  advise  you.     Turandot  you  seek, 
But  I,  who  know  this  Turandot,  can  tell  you 
She  is  a  lady  of  too  little  worth 
To  cause  the  noble  lineage  in  your  blood 
To  die.     She  neither  wants  you,  nor  your  death. 
Now  leave  her,  Sir,  and  give  her  leave  to  wish  you 
Joy  of  your  twice  escape. 

[68] 


A  THOUSAND  YEARS  AGO 


CALAF 

I  hear  you,  yet 

I  hear  like  one  who  dies  out  on  the  desert 
And  dreams  he  hears  sweet  water  tinkling.  —  Lady, 
I  parch  and  drink  dream-water.     Would  you  dash 
That  boon  from  my  soul's  lips? 

TURANDOT 

„  Nay,  then,  no  more ! 

Hear  now  my  riddles.  —  But,  I  pray  you,  look  not 
This  way,  but  elsewhere. 

CALAF 

I  will  close  my  eyes 
And  look  upon  you,  listening.  —  I  am  ready. 

[Closing  his  eyes,  he  waits  with  a  faint 
smile] 

TURANDOT 

Tell  me,  O  friend:     What  is  that  flower 

Which,  dying,  steals  its  lover's  breath, 
And  being  dead,  still  blooms  in  death, 
Living  beyond  its  little  hour 
To  grow  more  sweet  in  fragrance  as  it  grows 
In  memory? 

[ Turandot  gazes  pityingly.    Calaf  speaks 
with  closed  eyes] 


A  THOUSAND  YEARS  AGO 


CALAF 

A  withered  rose. 

[Turandot  starts  suddenly  from  her 
throne  and  sinks  back,  whispering 
to  Zelima.  Capo  despatches  Harle 
quin  to  Turandot,  who  gives  him 
tremblingly  a  key,  which  he  carries 
to  Scaramouche] 

CAPO. 
Unlock  the  secret  box. 

SCARAMOUCHE 

[As  Harlequin  unlocks  the  little  box  on 
his  platter  and  presents  to  him  a  strip 
of  parchment  from  within  it,  reads 
aloud] 
A  withered  rose. 

[A  murmur  runs  through  the  assembly] 

ALTOUM 

Now  by  my  star,  well  guessed! 

CAPO. 
[With  a  gesture  for  silence] 

The  second  riddle ! 

TURANDOT 

[With  emotion] 

Stranger,  you  are  the  first  of  all  my  suitors 
[70] 


A  THOUSAND  YEARS  AGO 


That  ever  reached  the  second.  —  I  have  spoken 
To  you  in  pity,  but  my  pity  now 
Is  for  myself,  lest  you  should  guess  too  well. 
Cease,  then,  I  beg  you.     Rest  content  with  passing 
Your  rivals.     Go!     And  I  will  give  you  triumph 
In  your  departure. 

ALTOUM 
Shame !     Fair  play,  my  daughter ! 

CAPO. 
Silence,  my  lord  Altoum!  —  What  says  the  Khan? 

CALAF 

I  answer  here  by  law,  risking  my  death. 
Therefore,  O  lady,  since  my  love  of  you 
Surpasses  life,  I  claim  my  right  of  law. 

TURANDOT 

[Her  eyes  flashing] 

By  heaven,  cold  prince,  I  see  I  wasted  pity 
Upon  a  heart  of  ice.     Meet,  then,  your  fate! 
I  will  not  weep  to  watch  the  headsman's  axe. 

CALAF 

I  trust  you  will  not,  princess.  —  I  am  ready. 

T  URANDOT 

[ToZelima] 

O  fiend !     My  fingers  itch  to  scratch  him. 
[71] 


A  THOUSAND  YEARS  AGO 


[ToCalaf] 

Hear,  then: 
Reveal,  O  youth:     What  is  that  fetter 

Which,  chaining,  sets  its  captive  free, 
But  broken,  makes  of  liberty 
A  weary  bondage,  little  better 
Than  death,  to  one  whose  spirits  mount  and  sing 
In  manacles? 

[Calaf  remains  silent,  pressing  his  closed 
eyes  in  thought.  Altoum  leans  for 
ward.  The  people  mutter  low.  Tur- 
andot  gazes  disdainfully.  Soon, 
letting  his  raised  hands  fall,  Calaf 
speaks  with  tense  calmness.} 

CALAF 
A  lover's  ring. 

TURANDOT 

[Cries  out] 
What's  that? 

[Clutching  Zelima's  arm] 
My  God !  here  is  some  treachery. 

CAPO. 
Open  the  second  lock! 

[Harlequin  unlocks  the  little  box  held 
by  Punchinello,  who  reads  aloud] 
[721 


A  THOUSAND  YEARS  AGO 


PUNCHINELLO 

A  lover's  ring. 

[^4   great   murmur  goes   up  from   the 
assembly] 

ALTOUM 

Wondrous !     The  fates  are  with  him. 

TURANDOT 

[Rising,  fiercely] 

Not  the  fates  - 

The  fiends  are  with  him.     I  cry  out  upon 
This  answer.     Some  perfidious  hand 
Has  tampered  with  those  locks. 
CAPO. 

Respect  this  hall 
And  presence,  Princess:     We  shall  judge  alone. 

TURANDOT 

False  friend,  is  this  your  pay  for  all  my  trust, 
And  this  the  perfect  joy  you  bid  me  hope  for? 

[To  Altoum] 
Father,  I  cry  on  you  to  right  this  wrong ! 

ALTOUM 

The  wrong  is  yours  to  flout  your  own  decree. 
But  right  or  wrong,  my  power  is  hushed:     Not  here 
But  yonder  sits  the  Emperor  of  China, 
[731 


A  THOUSAND  YEARS  AGO 


TURANDOT 

Why,  this  is  monstrous.     I  am  sold  a  slave 
By  an  abdicated  father  and  a  motley 
Who  apes  the  emperor  in  a  player's  mask!  — 
I'll  put  no  further  riddle. 

CAPO. 
[Smiling] 

As  you  like, 

Princess,  but  let  us  keep  our  humors.     If 
There  be  no  final  riddle,  Keedur  wins : 
The  priests  are  ready  to  perform  your  wedding. 

TURANDOT 

[Trembling  with  rage] 

My  wedding !  —  Ah,  then,  I  am  duped  indeed, 
And  must  submit  to  treachery.     But  you  — 
O  subtle  Khan,  dream  not  to  shame  me  so, 
And  win.     I  will  not  live  to  be  your  wife.  — 
Do  you  still  claim  your  riddle? 

CALAF 

[Who  has  stood  in  utter  calmness] 
I  am  ready. 

TURANDOT 

[In  fury] 

Then  may  your  answer  spike  your  head  in  death ! 
[74] 


A  THOUSAND  YEARS  AGO 


[Clutching  her  throne,  she  speaks  with 

voice  quivering] 
Reply,  O  Prince:     What  may  that  be 

Which,  light  of  heart,  causes  despite, 
But  heavy-laden,  renders  light 
Its  bearer,  making  care  so  free 
That  kings  might  give  their  crowns  to  call  it 
Their  treasure  house? 

[A   deep  hush   falls   on   the    assembly. 

Calaf  stands,  silent,  swaying. 
Slowly  lie  totters  and  falls  on  the  steps  of 

Capo's  Throne. 

There,  as  Harlequin  raises  him,  Capo 
whispers  swiftly  at  his  ear.  Suddenly 
then,  fixing  his  eyes  on  Turandot,  who 
stands  pale  and  rigid,  Calaf  speaks 
thrillingly .] 

CALAF 

A  beggar's  wallet. 

TUEANDOT 

[With  a  low  cry,  holding  her  side] 
Ah! 

[751 


A  THOUSAND  YEARS  AGO 


CAPO. 

[To  Harlequin] 
Quickly!  —  The  third  key! 

[Swiftly  Harlequin  unlocks  the  box  held 
by  Pantaloon,  who  reads  aloud] 

A  beggar's  wallet. 

TURANDOT 

[Turning,  desperately] 
Zelima! 

ZELIMA 

[Screaming] 
Lady! 

[Snatching  from  Zelima  a  little  dagger, 
she  lifts  it  and  strikes  at  her  own 
breast.  Leaping  to  the  throne,  Calaf 
intercepts  her  and  turns  the  dagger 
against  himself  ] 

CALAF 
Not  you,  my  love ! 

CAPO. 

Disarm  them! 
ALTOUM 
Turandot! 

[Amid  uproar,  the  four  Maskers  rush 
upon  Calaf  and  wrest  from  him  the 
dagger] 

[76] 


A  THOUSAND  YEARS  AGO 


TURANDOT 

[With  fierce  disdain] 
Coward  hearts! 

CALAF 
[Uplifting  his  hands  to  Capo] 

Sire,  hear  my  plea! 
CAPO. 
Order  and  silence!  —  Speak,  Sir  Keedur. 

CALAF 

Sire, 

If  I  have  won  this  ordeal  by  the  law  — 
Declare  it. 

CAPO. 
You  have  won. 

CALAF 

Then  I  renounce 

All  I  have  won,  and  place  before  this  court 
A  counter  plea.     Shall  it  be  granted? 
CAPO. 

What 
Do  you  petition? 

CALAF 

Sire,  since  it  would  shame  me 
And  her,  to  take  this  noble  princess'  hand 
[77] 


A  THOUSAND  YEARS  AGO 


Without  her  heart,  I  quit  my  claim,  but  ask 
In  substitute,  a  boon  : —  I,  whom  you  call 
Sir  Keedur,  Khan,  am  royal  and  a  prince, 
But  I  am  not  Khan  of  Beloochistan. 
Keedur  is  not  my  name. 

TURANDOT 

So,  treachery 
Once  more! 

ALTOUM 
Peace,  daughter! 

CAPO. 
[To  Calaf] 

Speak.    What  is  your  plea? 

CALAF 

This,  Sire :     Since  I  have  answered  now  three  riddles 
Of  Turandot,  that  she  —  to  make  fair  play  - 
Shall  answer  one  of  mine.     If  she  shall  guess  it, 
I  then  depart,  but  if  she  fail,  I  stay  — 
And  wed  her. 

TURANDOT 

[Scornfully  to  Capo] 
Ha!    This  jesting,  Sire,  fits  well 
Your  new  regime. 

[781 


A  THOUSAND  YEARS  AGO 


CAPO. 

(To  Calafl 

What  is  your  riddle? 

CALAF 

This: 
Reveal,  O  Lady:    What  is  he, 

His  true-born  name, 

His  father's  fame, 
Who,  desperate  for  love  of  thee, 
Assumed  from  far  Beloochistan 
The  false  name  —  Keedur,  Khan? 

TTJRANDOT 

Nay  sir,  I'd  scorn  to  answer.     What  you  are, 

Or  who,  or  whence  —  to  me  henceforth  'tis  nothing. 

CAPO. 

Softly,  quick  tongue !     To  us  the  game  seems  fair. 
Sir  nameless  lover,  you  shall  have  your  plea. 
'Tis  granted. 

TURANDOT 

[Trembling  with  rage] 
What!  —  O  miracle  of  shame! 
Perfidious  Masker! 

CAPO. 

This  your  riddle  shall 
Be  answered  here  to-morrow  by  this  lady, 
[79] 


A  THOUSAND  YEARS  AGO 

Or  else  you  shall  be  wedded  to  her  here 
Before  high  noon. 

TURANDOT 

[Descending  swiftly  from  the  throne] 

Fools !     I  defy  you  —  both ! 
[Flinging  her  sceptre  at   Capo's  feet, 
she  rushes  out] 

CAPO. 

[Rising] 
Follow  her! 

[At  his  gesture,  the  four  Maskers  follow 
after.  Amid  loud  murmur  and  com 
motion  Calaf  stands  staring  at  the 
empty  throne] 

Curtain 


[80 


ACT  THIRD 


ACT  THIRD 

*  SCENE  I:     An  anteroom  in  the  harem.     Night. 
In  the  centre  of  the  columned  room  is  a  table,  on 
which  —  softly  illumined  —  stands  a  large  crystal  bowl, 
filled  with  swimming  gold  fishes. 

Nearby,  Turandot  sits  weeping,  Zelima  beside  her. 
Outside,  the  shrill  voice  of  Punchinello  is  heard  singing 
to  the  twang  of  stringed  instruments: 

0  Lady,  Lady,  let  fall  your  tears 
No  more,  no  mor  e,  f or  foolish  fears  y 
But  let  in  your  true  playfellow; 
For  Sorrow's  a  thief 
Brings  Love  to  grief, 

But  a  merry  heart  makes  him  mellow, 
And  a  merry  heart,  0,  a  merry  heart 
Never  yet  kept  fond  lovers  apart, 

Nor  pinched  the  shoe  of  their  Punchinello. 

TURANDOT 

[Savagely] 
Drive  them  away,  Zelima!     Drive  them  away! 

*Sec  Appendix. 

[83] 


A  THOUSAND  YEARS  AGO 


PUNCHINELLO,    SCARAMOUCHE,  AND    PANTALOON 

[Singing  together  outside] 
And  a  merry  heart,  O,  a  merry  heart 
Never  yet  kept  fond  lovers  apart! 

ZEUMA 

[Going  to  the  door,  puts  her  head  out] 
Begone! 

[She  returns  to  Turandot.     The  twang 
ing  outside  decreases,  but  still  contin* 
ues] 
Take  courage,  Lady. 

TURANDOT 

Oh,  I  have  lost 

Courage  and  faith  and  kindness.     All  is  dark  — 
Dark  and  disgrace. 

ZELIMA 

'Tis  no  disgrace  to  win 
A  husband. 

TURANDOT 

Win  him!  —  To  be  tricked  and  sold 
In  slavery  to  one  I  love  not  —  lose 
The  one  I  love,  and  truckle  to  the  word 
Of  an  upstart  —  a  false,  masquing  popinjay 
Of  an  emperor!  —  Yet,  no  disgrace!     Ah  me, 
[84] 


A  THOUSAND  YEARS  AGO 


Why  did  your  little  dagger  fail  me?     Now 
I  have  no  pluck  of  soul  to  try  once  more. 

ZELIMA 

The  gods  forbid !     'Twere  very  wicked,  Lady : 
And  him,  that  saved  you,  and  gave  back  your  free 
dom 
So  gentlemanly ! 

TURANDOT 

Ha !  and  caught  me  again 

With  his  own  riddle!     Heaven,  I  hate  him.     Yet  — 
Zelima,  did  you  see  his  eyes? 

ZELIMA 
[Nodding] 

Most  strangelike 
They  were. 

TURANDOT 

I  must  not  think  upon  his  eyes, 
Or  I  might  hate  him  less.  No,  only  one 
Of  all  men  wears  the  gazes  which  I  love, 
And  he  is  lost  to  me. 

ZELIMA 

Why  lost,  my  Lady? 

The  emperor  promised  you  to  search  the  city 
And  find  your  beggar. 

F851 


A  THOUSAND  YEARS  AGO 


TURANDOT 

Capo's  promises 

Are  like  himself  —  all  lies.     Nay,  I  must  answer 
This  false  Khan's  riddle,  or  be  doomed  to-morrow. 
But    how?  —  "His    true-born    name,    his    father's 

fame  — " 

Where  shall  I  find  the  clue?     Ah,  heartless  fate 
And  stony  hearted  men! 

THE    VOICE    OF    PUNCHINELLO 

[Sings  outside  to  the  instruments] 
O  Lady,  Lady,  lift  up  your  moan 
No  more,  no  more  'gainst  hearts  of  stone, 
But  let  in  your  blithe  playfellow! 

TURANDOT 

[Wildly] 

Go!     Stop  them! 

THE    VOICE    OF   PUNCHINELLO 

For  a  stubborn  will 
Makes  Love  to  be  ill, 

But  a  merry  heart  makes  him  well,  0! 
And  a  merry  heart  — 
ZELIMA 

[Opening  the  door] 
Stop 
Your  noises ! 

F861 


A  THOUSAND  YEARS  AGO 


PUNCHINELLO 

[Outside] 

— O,  a  merry  heart 
Never  yet  kept  fond  lovers  apart, 

Nor  tweaked  the  nose  of  their  Punchinello. 

ZELIMA 
Cease !     Her  royal  highness  orders  — 

PUNCHINELLO,    SCARAMOUCHE   AND   PANTALOON 

[Pushing  past  Zelima,  enter  the  room 
bearing  bright  Chinese  lanterns,  and 
singing  in  chorus] 
A  merry  heart,  O,  a  merry  heart 
Never  yet  kept  fond  lovers  apart! 

[Joined  by  Harlequin,  they  pause  to 
gether  before  Turandot  and,  pointing 
simultaneously  their  left  toes,  strike 
sharply  their  instruments  with  a 
sweeping  bow] 

TURANDOT 

What  fresh  presumption  of  your  brazen  lord 
Is  this? 

PUNCHINELLO 

This  is  our  homage,  Lady,  Lady! 
[87] 


A  THOUSAND  YEARS  AGO 


[Thrumming  their  instruments  again, 
they  accompany  a  dance  of  Harle 
quin,  who  by  his  pantomime  indicates 
to  Turandot  the  bowl  of  gold  fishes, 
while  Punchinello  lilts  shrilly:] 

And  thus  our  Harlequin:     He's  showing 

How  all  our  hearts  be  overflowing 

With  little,  lovely,  golden  wishes 

For  your  delight  —  as  fine  as  fishes ! 

TURANDOT 

Go  —  go ! 

[Harlequin  draws  back] 
Why  have  you  come? 

PUNCHINELLO 

To  celebrate 
Our  lord  Sir  Capo's  great  discovery. 

PANTALOON 

[Mysteriously] 
He's  found. 

TURANDOT 

Who's  found? 

SCARAMOUCHE 

[Darkly] 

By  the  yawn  of  Jonah's  whale, 
We  have  disbellied  him  from  Pekin's  maw 
And  blackest  hollowness. 

[88] 


A  THOUSAND  YEARS  AGO 


PUNCHINELLO 

He's  trapped,  my  Lady! 

TUKANDOT 

[Chafing] 
Will  you  tell  who? 

PUNCHINELLO 

[In  a  loud  whisper] 
The  beggar. 

SCARAMOUCHE   AND   PANTALOON 

[Sepulchrally] 

Hush! 

TURANDOT 

[Faintly] 

A  beggar! 

SCARAMOUCHE 

[Speaks  at  her  ear] 

The  louse-gray  mongrel  with  the  chalkish  beard  — 
We've  got  him  kennelled,  ha ! 

TURANDOT 

An  old  man? 

PANTALOON 

[Nodding] 

Pickled! 
[891 


A  THOUSAND  YEARS  AGO 


TUBANDOT 

Alas!     What  are  these  tidings?     Have  you  searched 
Only  to  find  an  old  poor  man? 

CAPO. 
[Who  has  entered  behind  them] 

They  found 

Your  beggar's  gaffer,  Lady.  —  Barak  he 
Is  called,  and  lies  imprisoned  now  below, 
Where  I  will  learn  from  him  about  your  lover. 

TURANDOT 

[Bitterly] 

So  you  come  too.     Have  you,  then,  come  to  break 
Once  more  the  vow  you  made? 

CAPO. 
[Quietly] 

A  single  day, 

Lady,  you  swore  me  faith  and  loyalty; 
Yet  in  one  little  hour  you  cast  away 
Your  faith,  to  call  me  traitor. 

TURANDOT 

Had  I  cause, 
Or  no? 

CAPO. 

Is  there  good  cause  to  break  an  oath? 
[90] 


A  THOUSAND  YEARS  AGO 


TURANDOT 

You  broke  your  own.  You  vowed  to  achieve  for  me 
Joy  —  joy,  and  perfect  marriage  with  my  love.  — 
Am  I,  then,  joyful?  Am  I  with  my  love? 

CAPO. 
A  single  day;  a  single  day,  I  said! 

TURANDOT 

So  by  to-morrow  I  must  wed  this  Khan, 

This  nameless  prince  —  unless  I  guess  his  name. 

CAPO. 
Why  not,  then,  guess  it? 

TURANDOT 

[Glancing  quickly] 
How? 

CAPO. 

[Indulgently] 

Will  you  renew 
Your  broken  allegiance? 

TURANDOT 

I  am  desperate. 

I  will  do  anything  to  free  myself.  - 
What  shall  I  do? 

CAPO. 

First  swear  me  faith  again. 
[91] 


A  THOUSAND  YEARS  AGO 


TURANDOT 

I  swear  it.     Now  tell! 

CAPO. 

How  easily  ladies  swear 
When  they  are  in  love !  —  Prime-Minister,  retire ! 

[The  four  Maskers,  bowing,  withdraw 
to   the    background,    where   they   are 
entertained    by  Zelima,  whom   they 
instruct  to  play  upon  their  instruments 
with  a  low  strumming} 
In  the  general  practice  of  my  specialties, 
Lady,  I  often  recommend  for  love 
A    sleeping-charm  —  like  this. 

[Capo  takes  from  his  sleeve  a  small  vial 
and  hands  it  to  Turandot] 

TURANDOT 

What  should  I  do 
With  this? 

CAPO. 

This,  if  'tis  poured  upon  the  sleeping  lips 
Of  man  by  a  maid,  or  maiden  by  a  man, 
Will  make  the  sleeper  murmur  in  his  dream 
Whatever  secret  thing  his  soul  conceals 
WThen  it  is  asked  of  him. 

[921 


A  THOUSAND  YEARS  AGO 


TURANDOT 

[After  a  pause,  gives  a  sudden  cry  of  joy] 

Ah,  now  I  see! — 

But  how  can  I  find  access  to  this  Khan 
When  he  is  sleeping? 

CAPO. 

I  am  emperor, 

And  by  my  new  regime,  at  midnight,  all 
The  guards  retire,  and  in  the  men's  hall,  men 
May  pass  unnoticed  by  the  others. 

TURANDOT 

[Searchingly] 

Men? 

CAPO. 

[Calls,  beckoning] 

Here,  Harlequin!  —  I  pray  you,  princess,  stand 
Back  to  back  with  this  boy. 

[Turandot  looks  puzzled,  and  then  turns 
and  stands  back  to  back  with  Harle 
quin.     Capo  measures  their   heights 
with  his  flattened  hand.     They  sepa 
rate  and  Capo  indicates  Harlequin] 
A  hair's  breadth  higher. 
[With  a  questioning  glance  at  Turandot] 
A  hair's  breadth!     Will  you  risk  it  —  by  a  hair? 
[93] 


A  THOUSAND  YEARS  AGO 


TURANDOT 


[Growing  suddenly  radiant] 
O  wonderful!  —  At  midnight,  did  you  say? 


CAPO. 


[Smiling] 
Now  are  we  friends  —  and  may  I  kiss  your  hand? 

TURANDOT 

[Ardently] 
No,  I  will  kiss  yours ! 

[She  seizes  Capo's  hand  and  kisses  it. 
He  laughs  softly] 

Curtain 


[94] 


A  THOUSAND  YEARS  AGO 


SCENE  II:  A  bedchamber,  mysteriously  lighted. 
The  room  is  vast  and  magnificent. 
In  the  centre,  by  a  divan  couch, 
Calaf  is  seated  in  deep  brooding.] 

CALAF 

If  she  should  guess!  —  If  she  should  fail  to  guess! 
If  she  should  fail  to  guess!  —  If  she  should  guess! 
O  endless,  awful  night,  you  are  like  thought  — 
Hollow,  unanswering  and  full  of  echoes! 
And  like  my  heart  you,  too,  are  sleepless,  yearning 
With  dim  and  palpitating  mystery. 
If  she  should  guess?  —  Then  would  I  doubly  lose 
My  love  —  my  life.     If  she  should  fail  to  guess? 
Then  how  might  I  dare  hold  her  to  my  bond 
And  wed  against  her  will?  —  If  she  should  guess  — 
If  she  should  fail  —  Ah,  God !    The  night  gives  back 
Only  my  emptiness,  and  moment  builds 
On  moment  mountains  of  hell,  and  here  I  sit 
Alone. 

[Rising,  he  reaches  his  arms  with  a  low 

cry] 
Alone! 

[951 


A  THOUSAND  YEARS  AGO 


CAPO. 

[Entering  in  the  dimness] 
There  is  no  loneliness 
Where  thoughts  are  merry. 
CALAF 
[Staring  at  him  for  a  moment] 

Merry !  —  Sire,  I  have 
Forgot  the  meaning  of  that  word. 
CAPO. 

Recall  it, 
Then,  quickly,  for  I  bring  you  pleasant  news. 

CALAF 
[Eagerly] 

From  her?  from  her,  O  Sire? 
CAPO. 

From  Turandot. 
The  lady  loves  you. 

CALAF 

Loves  me !    You  are  mad, 
Or  jesting. 

CAPO. 

To  the  sober-serious 

Jesting's  a  sort  of  madness.  —  But  no  matter. 
The  lady  loves  you  none  the  less. 
[96] 


A  THOUSAND  YEARS  AGO 


CALAF 

How  is  it 

Possible? 

CAPO. 

You've  forgot  my  specialty 
So  soon?  —  or  am  I  skilled  in  guessing  riddles? 

CALAF 
I  should  have  failed  without  you. 

CAPO. 

Will  you  try  me 

Again? 

CALAF 

But  how  — 

CAPO. 

Come   hither   in   more   light. 
[Calaf  moves  out  of  the  deeper  shadow. 
Capo     tips    Calaf s   face    upwards, 
examining  it] 
What  color  are  your  eyes? 

CALAF 

I  do  not  know. 
CAPO. 

[Nods  approvingly] 
Sapphire.  —  That  might  describe  them,  with  some 

license 
Of  love  and  rhetoric. 

[971 


A  THOUSAND  YEARS  AGO 


CALAF 

What  have  my  eyes 
To  do  with  guessing  riddles? 
CAPO. 

Much  to  do! 

They  have  to  close  and  go  to  sleep,  before 
The  guessing.     Softly  now :  lie  down  and  close  them 
Until  tomorrow. 

CALAF 
Would  I  might! 

CAPO. 

Then  do  so! 

For  on  tomorrow  morn,  I  promise  you 
Delight  —  and  perfect  marriage  with  your  love. 

CALAF 

0  friend,  I  am  too  weary  to  refuse. 

1  will  lie  down  and  dream  it  is  tomorrow. 

[He  lies  on  the  couch.     A  far  chiming 

is  heard] 
What  bell  is  sounding? 

CAPO. 

Midnight.  —  Merry   dreams! 

[Capo  steals  out.     Calaf  closes  his  eyes 

and  is  still.     The  room  is  silent  and 

dim.     After  a  few  moments,  out  of 

[98] 


A  THOUSAND  YEARS  AGO 


the  darkness  there  emerges,  scarlet 
and  pied,  the  Figure  of  Harlequin, 
who  tiptoes  toward  the  couch.  At  a 
sigh  from  Calaf,  the  Figure  starts 
back,  returning  more  reticently.  Again 
Calaf  murmurs  in  his  sleep:} 

CALAF 

Turandot!     Lady  beloved! 

[Standing  in  a  shaft  of  vague  light,  the 
Figure  of  Harlequin  lifts  cautiously 
a  vial  and,  unstopping  it,  dances 
softly  three  times  around  the  divan; 
then  pauses  close  to  Calaf,  who  mur 
murs  once  more] 

Princess !     Love. 

THE    FIGURE    OF    HARLEQUIN 

\Chants  in  a  low  voice} 
Reveal,   O   dreamer:     What  is  he, 
His  true-born  name, 
His  father's  fame, 
Who,  desperate  for  love  of  me, 
Assumed  from  far  Beloochistan 
The  false  name  —  Keedur,  Khan ! 

[Bending  above  Hie  dreaming  form  of 
[99] 


A  THOUSAND  YEARS  AGO 


Co/of,  the  Figure  sprinkles  from  the 
vial  upon  his  lips;  then  draws  back 
and  listens] 

CALAF 

[Murmurs  louder  in  his  sleep] 
Be  gracious  unto  me:  Calaf,  the  son 
Of  Timur,  King  of  Astrakhan ! 

THE  FIGURE  OF  HARLEQUIN 

[Laughing  silverly] 

Aha! 

Calaf!  Calaf,  the  son  of  Timur,  King 
Of  Astrakhan! 

CALAF 

[Starting  up  on  the  divan] 
Who  calls  me? 

THE    FIGURE 

[Lifting   a   mandolin   strung  from   the 
shoulder,  strikes  a  swift  chord  and 
bounds  away  toward  the  door} 
Ahaha! 

CALAF 

[Leaping  to  the  floor,  and  following] 
What  are  you?     Stop! 

[100] 


A  THOUSAND  YEARS' A6Q. 


[The  Figure  pauses] 

Come  from  your  shadow! 
[The  Figure  takes  a  timid  step  forward, 
and  stops] 

You! 

You,  the  dumb  player,  servant  of  our  lord 
The  emperor!     What  brings  you  here? 

THE  FIGURE 

Aha! 

Reveal,  O  Lady:     What  is  he 
His   true-born   name, 
His  father's  fame  — 

CALAF 
How's  that?     Can  the  dumb  speak? 

THE  FIGURE 

Calaf,  the  son 
Of  Timur  — hail! 

CALAF 

By  heaven,  a  spy! 

[He  springs  toward  the  door.  The  Figure 
tries  to  pass  him  but,  thwarted,  leaps 
back] 

Not  yet! 

You  shall  not  go  till  I  have  plucked  the  face 
Out  of  that  mask. 

[101] 


A  THOUSAND  YEARS  AGO 


[At  the  door  he  turns  the  key  and  takes 

The  door  is  locked.     Reveal 
Yourself ! 

[The  Figure  draws  away.     He  strides 

toward  it.     It  escapes] 
Light  footed  imp!     Now  by  my  soul, 
You  shall  not  live  to  blab  beyond  these  walls 
The  secret  you  have  stolen  from  my  sleep. 

[He  starts  again  toward  the  Figure.    It 
dances  away  from  him,  striking  the 
strings  of  its  mandolin.     Round  the 
great  couch  and  about  the  shadowy 
room  he  pursues  it,  ever  eluding  him. 
Suddenly  he  pauses,  and  stares] 
Stay!     Am  I,  then,  asleep?     Are  you  indeed 
Some  imp  of  dreamland,  sent  to  plague  my  soul 
With  fever  shuttle-dances,  a  pied  phantom 
Painting  the  dark,  and  tinkling  with  your  timbrel 
These  rafters  of  my  riddle-tortured  brain?  — 
If  she  should  guess  —  If  she  should  fail  to  guess !  — 
O  Night,  it  is  your  Echo,  mocking  me: 
'Tis  but  a  Question,  and  beneath  that  mask 
There  are  no  lips  to  answer! 

[Desperately,  he  throws  himself  down  by 
[102] 


A  THOUSAND  YEARS  AGO 


the  couch,  burying  his  face  against  it. 
After  a  moment,  the  Figure  approaches, 
cautious,  surveys  his  prone  form 
closely,  bends  as  if  to  snatch  at  his 
robe,  but  draws  back  and  stands  hesi 
tant;  then  with  a  gesture  half  frightened 
removes  its  mask,  and  speaks  low] 

THE  FIGURE 

Calaf,  son 
Of  Timur  —  grace !     Give  me  the  key ! 

[Turning,  Calaf  slowly  staggers  to  his 
feet,  gazing  with  awe  on  the  face  of 
Turandot] 

CALAF 

O  Dream! 

Dream  of  my  love  transmuted  to  a  boy  — 
O  little  dream  in  motley,  speak  once  more! 

TURANDOT 

The  key !     Unlock  the  door,  and  let  me  forth. 

CALAF 

My  lady  —  and  her  voice !     Yet,  shining  boy, 
Before  my  soul  loses  belief  in  you, 
Still  let  me  wonder,  looking  on  your  image, 
And  worship  at  your  shrine  —  Saint  Harlequin ! 
[He  kneels  before  her] 

[1031 


A  THOUSAND  YEARS  AGO 


TURANDOT 

I  do  not  ask  for  worship  —  but  a  key. 

CALAF 

The  key  you  ask  for  locks  the  gate  of  heaven 
And  we  are  shut  within.  Love  builds  him  bars 
To  stablish  heaven  where  lovers  are  locked  in. 

TURANDOT 

Lovers?     You  dare  much. 

CALAF 

[Rising] 

He  dared  more,  to  say 
You  love  me,  and  I  dared  believe. 

TURANDOT 

[Amazed] 

Who  dared 
To  say  it? 

CALAF 

He  who  shuttles  through  our  lives, 
Unriddling  and  riddling,  like  a  restless  loom  — 
The  motley  emperor. 

TURANDOT 

Capocomico ! 
He  is  a  jester,  Sir. 

[104] 


A  THOUSAND  YEARS  AGO 


CALAP 

Did  he,  then,  jest 

To  furnish  you  that  vial  in  your  hand 
And  charm  the  fateful  secret  from  my  lips 
Into  your  power?     Ah,  if  you  do  not  love  me, 
Why  have  you  stolen  here  now  to  drag  my  name 
From  dreams  —  Calaf,  your  father's  enemy, 
Doomed  unto  death? 

TURANDOT 

[Struggling  with  herself] 
Nay,  ask  not. 

CALAF 

Turandot, 

Princess  of  Pekin,  stoops  not  to  betray 
Her  enemy,  nor  steal  a  riddle's  answer 
Thief  wise  by  night,  to  slay  her  enemy. 
The  thought  is  slander.     No !  —  Therefore  you  love 

me: 
So  you  have  robbed  —  to  save  me. 

TURANDOT 

Turn  your  eyes 
Away ! 

CALAF 

Is  it  not  so,  Lady  beloved? 
[105] 


A  THOUSAND  YEARS  AGO 


TURANDOT 

Oh,  ask  not  with  your  eyes ! — Nor  with  your  thoughts 
Ask  not  why  this  bold  Harlequin  is  here 
Thief  wise  by  night,  to  steal  your  secret  name; 
But  let  me  go! 

CALAF 

[Holding  out  the  key,  gazes  at  her] 
Will  you,  then,  go? 

TURANDOT 

[Reaches  for  it,  but  pauses  and  turns 
back  her  hand,  screening  her  face] 

Your  eyes! 

They  blind   the   space  between.     I   cannot  grope 
The  key  I  reach  for. 

CALAF 

Will  you  go? 

TURANDOT 

The  air 

Is  dim,  but  bright  with  pathways  to  your  face, 
And  where  they  lead  I  falter,  like  a  moth 
To  where  the  lamp  shines. 

CALAF 
[In  hushed  triumph] 

You  will  stay! 
[1061 


A  THOUSAND  YEARS  AGO 


TURANDOT 

O  dark! 

What  light  and  darkness  and  the  murmur  of  waters 
Lure  me  toward  you? 

CALAF 

Night  and  yearning  stars 

And  rush  of  winds  blend  us,  beloved.     Listen ! 
Look  in  my  eyes,  O  love !  —  Lean  to  my  lips ! 

TURANDOT 

[Closing  her  eyes] 
I  lean:     Let  me  not  fall! 

CALAF 

Thus  will  I  save  you ! 
[Reaching    his    arms   passionately,    ht 
kisses  her] 

TURANDOT 

[Starting  back,  with  a  cry] 
Ah  me!     I  am  betrayed. 

CALAF 
By  Buddha,  I  swear  — 

TURANDOT 

Destroyed.     O  shame  of  all  my  vows  forsworn, 
Where  have  I  fallen? 

[107] 


A  THOUSAND  YEARS  AGO 


CALAF 

On  your  lover's  heart. 
Look,  it  is  I. 

TUBANDOT 

Who's  there? 

CALAF 

Calaf,  your  prince. 

TUKANDOT 

Calaf !  —  Now  shame  put  acid  on  my  lips 

And  sere  them  of  your  kiss !     A  prince  hath  touched 

me! 

O  you  poor  bloody  heads  on  Pekin's  wall, 
Have  you,  then,  died  for  this?  —  and  Turandot 
Shamed  by  a  prince  at  last! 
CALAF 

Lady,  I  beg  — 

TURANDOT 

Not  that !  —  Ah,  do  not  stab  me  with  that  word, 
And  make  me  bleed  for  one  who  begs.  —  The  key, 
Give  me  the  key! 

CALAF 

Mistress,  your  words  go  by  me 
Like  leaves  blown  wildly.     I  cannot  gather  them. 
[108] 


A  THOUSAND  YEARS  AGO 


TURANDOT 

Sir  prince,  I  blow  them  wildly,  and  I  care  not 
Whither  they  whirl. 

CALAF 

Love  changes  blood  to  wine. 
The  kiss  of  our  communion  hath  turned  wine 
To  madden  you. 

TURANDOT 

The  key! 

CALAF 

[Giving  her  the  key] 

Take  it,  my  lady, 

So  you  may  know  your  freedom  and  my  love, 
And  me  your  lover,  Calaf . 

TURANDOT 

Calaf,  not 

My  lover.  —  Calaf,  or  Keedur,  Khan,  you  are 
Mine  enemy  in  my  power.  —  Until  to-morrow, 
Good-night ! 

[She  hastens  toward  the  door.     Grasping 
her  arm,  his  eyes  glow  passionately] 

CALAF 

You  came  here  to  betray  me?  —  Speak! 
[  109  ] ' 


A  THOUSAND  YEARS  AGO 


TURANDOT 

I  came  to  win  your  secret,  and  to  shame  you 
Tomorrow  at  the  trial.     Let  me  pass. 

CALAF 

No !     We  are  in  each  other's  power.     Let  doom 
Strike  on  us  both  together. 
[Inexorably  he  compels  her.     She  sinks  on  the  couch] 

TURANDOT 

In  your  power! 
What,  I?     You  would  not  dare  — 

CALAF 

Who  would  not  dare? 

Infinite  ages  climbed  to  this  little  moment; 
Infinite  ages  shall  sink  after  it. 
I  stand  here  on  its  peak  to  make  it  mine.  — 
Open  the  door! 

TURANDOT 

[Trembling] 
Open  it?  —  What  will  you  do? 

CALAF 

Now  shall  the  rafters  of  your  palace  ring 

With   "Turandot,  the  Harlequin,   Calafs  lover, 

Stolen  to  his  arms  beside  his  midnight  couch!" 

[no] 


A  THOUSAND  YEARS  AGO 


TURANDOT 

[Shrinking  from  his  gesture] 
Touch  me  not! 

CALAF 
[Seizing  her] 

Wine!    Your  kiss  turns  in  my  blood 
To  wine  of  fire  poured  foaming,  and  the  flames 
Burn  outward  toward  your  lips. 

TURANDOT 

Kiss  not  again! 
Be  merciful,  and  hear  me! 

CALAF 

Mercy  cries 
To  God,  not  to  our  enemy.  —  Your  lips! 

TURANDOT 

[With  fearful  appeal] 
My  lover,  then! 

CALAF 

[Drawing  back  amazed] 
Your  lover! 

TURANDOT 

Yea  —  my  love ! 

VJour  eyes  —  another  blazes  in  your  eyes. 
[Ill] 


A  THOUSAND  YEARS  AGO 


CALAP 

Another!    Who? 

TUBANDOT 

The  noblest  in  this  world: 
I  love  him.    I  have  sworn  it.    Yet  —  O  Yet  — 
My  flesh  cries  out  to  yours,  my  soul  to  yours, 
My  lips,  my  lips  to  yours. 

CALAF 
[Clasping  her] 

Ha,  mine  at  last! 

TURANDOT 

[Repulsing  him] 

Clasp  me  not,  lest  I  cling  to  you.—  No  more! 
I  will  not.    I  am  his.    No  kiss  of  yours 
Can  quench  his  burning  image.     Let  me  go! 
But  ah,  the  spell  and  rapture  of  your  arms  — 
Reach  them  where  yearning  lovers  starve  in  hell, 
And  bless  them. — Stop !    My  body  and  soul  are  his . 
I  hate  you  —  I  hate  you  —  hate  you ! 

[She  rushes  into  the  dark. 
Calaf  reaches  — groping  —  with  a  wild  cry] 

Curtain 


ACT  FOURTH 


ACT  FOURTH 

The  scene  is  the  same  as  the  second  act,  scene  second, 
except  that  the  back  of  the  great  hall  of  the  emperor's 
Divan  is  now  hidden  by  a  decorated  curtain.  The 
assembly  is  gathered  as  before:  Capocomico,  Turandot 
and  Altoum  seated  on  their  larger  and  lesser  thrones. 

Before  them,  Harlequin,  Scaramouche,  Punchinello 
and  Pantaloon  are  performing  a  dance. 

At  its  conclusion  Capocomico  rises,  and  addresses 
the  Maskers. 

CAPOCOMICO 

Enough!     Go,  bring  the  nameless  prince  before  us. 
[Dismissing   them   with    a   gesture,    he 

turns  toward  Altoum] 

Altoum,  —  our  greater  emperor,  the  Sun, 
Sits  higher  even  than  our  august  selves, 
And  soon  shall  set  his  throne  at  highest  noon. 
Then  must  I  abdicate  my  one  day's  reign, 
First  having  sealed  your  daughter's  perfect  marriage, 
Ending  in  joy  her  doleful  year  and  a  day. 
1115] 


A  THOUSAND  YEARS  AGO 


Therefore,  in  those  brief  minutes  which  are  left  me 
To  consummate  these  little  things,  I  pray  you 
Deign  of  your  courtesy  to  take  my  seat 
And  let  me  do  the  honors. 

ALTOUM 
[Rising  from  his  lesser  place] 

As  you  will! 
Till  noon,  my  thanks  for  hospitality. 

CAPO. 
Oh,  not  at  all! 

[Pointing  to  his  seat] 
Pray,  make  yourself  at  home. 
[As  they  pass  each  other  to  change  places, 
Altoum  speaks  to  Capo  in  lower  voice} 
Have  you  performed  your  task,  and  saved  your  head? 

CAPO. 
My  head  was  never  more  attached  to  me. 

TURANDOT 

[Bending  from  her  throne] 
A  word,  my  liege? 

CAPO. 

Nay,  but  a  hundred,  lady! 
[He  goes  to  her  side.      She  speaks  to  him 
low] 

[116] 


A  THOUSAND  YEARS  AGO 


TURANDOT 

Have  you  kept  faith  with  me?     Ah  —  is  he  found  — 
My  heart's  desire? 

CAPO. 

Your  heart's  desire  is  found, 
And  waits  for  you. 

TURANDOT 

[Excitedly] 

Where  is  he? 

CAPO. 

Lo,  he  comes! 

[Pointing  toward  the  entrance,  he  goes 
to  the  lesser  throne.     With  music  of 
their  stringed  instruments,   the  four 
Maskers  usher  in  Calaf,  haggard  and 
dishevelled.      Turandot  starts,  with  a 
cry  and  look  of  bewilderment  at  Capo. 
Capo  addresses  Altoum  and  the  Divan] 
Your  Majesty  and  lords,  the  nameless  prince 
Awaits  to  learn  his  name  from  Turandot. 

CALAF 

[Stepping  forward  fiercely] 
He  waits  not,  for  his  name  has  been  betrayed 
To  her  —  and  you,  false  jester,  have  betrayed  it. 
[117] 


A  THOUSAND  YEARS  AGO 


ALTOUM 

[Amid  commotion] 
What's  that? 

CALAF 

My  liege,  why  should  I  play  the  fool 
In  a  Masker's  comedy?     Death  holds  less  scorn 
Than  being  duped  to  dance  in  a  puppet-show 
To  tinkling  mandolins. 

ALTOUM 

Speak  out  your  grievance! 
CALAF 

I  stand  here  in  your  power,  and  his.  —  At  midnight, 
By  secret  sprinkling  of  a  sleeping-charm, 
This  masker  sent  to  rob  my  dreaming  lips 
Of  the  answer  to  my  riddle  - 
ALTOUM 

Gods!  to  rob? 
Your  proofs  of  this! 

CALAF 

The  proofs  stand  up  in  me. 

I  who  did  deem  it  heaven  to  love  your  daughter 
Have  proved  it  hell.     Your  daughter  knows  my 

secret, 

And  all  the  ravage  hidden  in  my  name, 
[118] 


A  THOUSAND  YEARS  AGO 


Yet  am  I  nothing,  my  damnation  —  nothing 
To  her,  who  loves  another. 

ALTOUM 
[Startled] 

What  — other?  Who? 

CALAF 

"The  noblest  in  the  world."  —  O  noble  world, 

There  aspiration  earns  its  crown  of  scorn, 

And  baseness  wins  nobility!     In  such, 

I'd  liever  be  a  beggar.     But  enough ! 

My  fate  indeed  is  nothing,  and  my  name  — 

My  name  is  — 

TURANDOT 

Stop!  your  riddle  goes  unanswered. 
Go  you  in  peace  —  and  friendship.  You,  Sir  Capo, 
Who  keep  your  faith  so  strangely,  set  before  me 
The  heart  of  my  desire. 

CAPO. 
He  stands  before  you. 

TURANDOT 

Trick  me  not  also.     Keep  your  promise  still. 
This  man  is  Calaf,  Son  of  Timur,  not 
My  heart's  desire. 

[1191 


A  THOUSAND  YEARS  AGO 


ALTOUM 

[Rising,  wrathful] 

How!  Calaf,  Son  of  Timur! 

CALAF 

Not  drowned  my  liege,  in  water  —  but  in  grief. 

ALTOUM 

My  darkest  enemy.  —  So,  Capo,  this 
Is  he  whom  you  would  wed  within  my  house 
To  my  own  daughter  —  Prince  of  Astrakhan! 
Now  by  my  star,  the  doom  upon  his  head 
Shall  fall  on  yours  —  and  doubly.     I,  it  seems, 
!.,  too,  am  duped! 

TURANDOT 

[Brokenly] 

He  has  betrayed  us  all. 

CAPO. 

A  single  day  is  short  to  make  all  snug. 
The  Lord  took  six. 

ALTOUM 

A  single  day  is  all 
My  word  allowed.     I  see!     You  bungled,  fool, 
Striving  to  save  your  neck,  but  now  your  time 
Hangs  at  the  stroke,  and  you  have  failed  me.     Doom 
Falls  on  you  and  your  fellows ! 
[120] 


A  THOUSAND  YEARS  AGOJ 


THE    MASKERS 

[Trying  unsuccessfully  to  salaam] 
Mercy,  Sire! 

CAPO. 

[Behind  his  hand  chiding  them] 
Where  are  your  manners,  my  Prime-minister? 
Venetian  bows  are  still  the  mode  in  court, 
Whilst  we  are  emperor. 

[Giving  a  sign  to  Harlequin,  who  runs 
out,  he  turns  to  Altoum] 
O  Sire  — elect! 

Before  the  ominous  gong  sounds  in  mine  ears 
That  ushers  me  unto  oblivious  rags 
To  stroll  the  world  again,  let  me  rejoice 
That  you  have  turned  your  wrath  from  this  brave 

youth 

Upon  my  humble  head.  —  Congratulations! 
And  with  exchange  of  courtesies,  I  pray  you 
Felicitate  me  and  these  fellow-players 
On  the  happy  curtain  of  our  comedy. 

[At  his  gesture,  Punchinello  and  Panta 
loon  run  to  the  curtain  at  back] 

ALTOUM 
Say  rather  —  tragedy. 

1 1*1 1 


A  THOUSAND  YEARS  AGO 


CAPO. 

We  stand  corrected: 
Or  say  —  romance,  where  true  love  laughs  through 

tears : 
Name  it  Romance,  and  grant  us  your  applause. 

[Punchinello  and  Pantaloon  draw  the 
curtain,  revealing  an  oriental  altar, 
with  idol,  beside  which  stand  two 
priests] 

ALTOUM 
What's  there? 

CAPO. 

The  altar  for  our  ceremony: 
The  Wedding  of  the  Princess  and  the  Beggar. 

[Reenter  Harlequin,  bringing  in  Barak, 
who  rushes  to  Calaf  and  embraces 
him] 

BARAK 

My  prince! 

CALAF 

[Overwhelmed] 
Barak  —  old  friend! 


A  THOUSAND  YEARS  AGO 


TURANDOT 

[To   Zelima] 

Look,  look,  'tis  he! 
My  beggar's  gaffer. 

ALTOUM 

[Before  whom  Harlequin  presents  three 
tokens] 

What  are  these? 
CAPO. 

Our  trophies: 
The  secret  of  your  daughter's  malady  — 

[Leading  Calaf  bewildered  before   Tur- 

andot] 

Lady,  receive  them  with  your  heart's  desire: 
A  ring,  a  rose,  a  beggar's  wallet. 

TURANDOT 

You  — 
Are  you  my  beggar? 

CALAF 
[Taking  from  Barak  his  old  cloak] 

I  am  he  who  won 

In  Astrakhan  —  this  rose,  at  Pekin  gate  — 
This  ring,  and  in  this  ragged  beggar's  cloak 
You  once  did  smile  upon,  I  now  depart. 
[123] 


A  THOUSAND  YEARS  AGO 


TURANDOT 

Stay,  love  —  You  are  my  noblest  in  the  world ! 

[Calaf  turns  in  wonder  and  kneels  to 
her.  She  bends  and  embraces  him. 
A  great  gong  resounds] 

CAPO. 

[Presenting  his  crown  to  Altoum] 
My   liege,   I   abdicate.     And   you   applaud? 

ALTOUM 

Yea,  marvel,  Capo.     Kingdoms  will  I  give 
To  these  your  fellows. 

THE  MASKERS 

.  [Bowing  Venetian] 
Hail! 

ALTOUM 

And  to  yourself  — 
Whatever  you  ask  for. 

CAPO. 

Then,  my  liege  and  lady, 
I  beg  —  this  withered  rose. 
CALAF 

[Giving  it  to  him] 

Only  a  flower? 
[124] 


A  THOUSAND  YEARS  AGO 


CAPO. 

Lovers,  that  lives  beyond  its  little  hour 
In  memory.  — Adieu!  —  My  players,  rule 
Your  kingdoms  still  in  masks.  —  Now  for  the  world! 

[Tossing  his  gorgeous  emperor's  cloak 
to  Harlequin,  he  springs  away  in 
his  tattered  motley] 

TURANDOT 

[Calls  after  him] 
What  seek  you  there? 

CAPO. 

[Kissing  to  her  and  Calaf  the  withered 
rose] 

More  roses  and  romance ! 

Curtain 

END  OF  PLAY 


[125] 


APPENDIX 
TURANDOT'S  DREAM 


TURANDOT'S  DREAM 

IN  the  acted  performance  of  this  play,  the  third  act  com 
mences  with  a  scene  which  sets  forth,  wholly  in  pantomime, 
a  dream  of  Turandot,  representing  —  by  suggestions  of 
mystic  light  and  sound  —  the  state  of  her  distracted  mind, 
trying  to  solve  the  riddle  of  Keedur  Khan. 

The  pantomime  takes  place  in  two  imaginative  settings 
—  a  mountain  top  and  an  oriental  street  —  blending  the 
one  into  the  other. 

Out  of  darkness  first  appears  the  outline  of  the  dark 
summit,  against  a  blue-gray  radiance  of  sky.  Etched  upon 
this  Zelima  enters,  like  a  shadow-phantom,  beckoning. 
Following  her  to  strange  music  Turandot  appears,  unsub 
stantial  as  shadow,  painted  opaque  on  the  glowing  back 
ground,  like  some  silhouetted,  featureless  figure  on  an  ancient 
vase,  imbued  as  by  magic  with  motion  and  antique  gesture. 

Bowing  in  awe  above  the  brink  of  darkness,  the  figure 
of  Turandot  is  led  downward  (and  forward)  into  obscuring 
mists,  tinged  with  green  lights  and  gules.  Out  of  the  mist, 
voices  —  shrill,  bizarre,  bell-toned,  menacing,  mysterious  — 
echo  the  words:  "Khan,  Keedur  Khan,  Khan,  Khan!" 

While  the  female  forms  grope  below,  the  figure  of 
Capocomico  now  appears  on  the  summit,  beckoning  to 
his  four  maskers,  whose  sha.dow-forms  gesticulate  weirdly 
toward  Turandot. 

"Reveal,  O  Lady:  What  is  he — 
His  true-born  name, 
His  father's  fame — ?" 

Through  the  interpretive  music,  the  teasing  words  of 
the  riddle  are  chanted  by  the  varied  voices,  amid  strange 
hiatuses  filled  with  mocking  laughter. 
[1291 


APPENDIX 


Lastly,  alone,  appears  the  shadow  form  of  Calaf,  who 
follows  the  Maskers  downward  into  the  mist,  searching 
with  arms  outgroped  toward  Turandot. 

There,  as  the  unreal  forms  pass  and  disappear,  the 
silhouette  of  Capocomico  stands  fluting  on  the  mountain 
top,  while  below  echoes  the  basso  and  falsetto  laughter  of 
the  Maskers,  and  the  low  taunting  cry :  "  Keedur  Khan ! " 

As.  this  tableau  shuts  in  darkness,  there  comes  vaguely 
to  light  in  the  foreground  a  street  scene.  Here,  at  a 
gateway,  beggars  with  yokes  are  huddled;  before  the 
gate,  a  moving  frieze  of  dream  figures,  noiseless,  pass 
fantastically:  Chinese  soldiers,  high  stepping;  Turandot 
again,  downcast,  gliding  like  a  captive  with  Zelima; 
Calaf,  swift  searching  in  pursuit;  the  Maskers,  lithe, 
grotesque,  pointing  after  him;  rearguarded  by  Capocomico 
—  blithely  dominant  in  gesture,  triumphant  with  fantasy. 

Last  of  the  dream  images  he  also  fades  in  darkness,  out 
of  which  rise  the  merry  strains  of  a  chorus: 

"O  Lady,  Lady,  let  fall  your  tears 
No  more,  no  more  for  foolish  fears, 

But  let  in  your  blithe  playfellow " 

and  Turandot,  sobbing  beside  Zelima  on  her  bench  in  the 
harem,  awakes  from  her  haunting  dream  of  Keedur  Khan. 

Zelima  bends  over  her. 

"Alas,my  lady,  whatails  you?    You  cried  in  your  swoon!" 

The  merry  voices  of  the  Maskers  outside  sing  louder. 

"Oh,  I  have  dreamed,  Zelima!     Drive  them  away!" 

Thus  follows  the  first  spoken  scene  of  Act  Third,  as 
here  printed. 

As  acted,  the  stage  management  and  lighting  of  this 
pantomime  have  been  movingly  devised  by  Mr.  J.  C. 
Huffman. 

Here  in  description  its  visionary  quality  can  only  be 
suggested. 

[130] 


22 


T3Dec'49AB 
.ir'SOHJ 


OIO  /  i 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 


